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•v

THE

PENMAN'S HAND-BOOK,

FOR PENMEN AND STUDENTS,

EMBRACING A

HISTORY OF WRITING,

WITH FAC-SIMILE ILLUSTRATIONS FROM ANCIENT MANUSCRIPTS,

MANY COMPLETE ALPHABETS

P,Y THE LEADING PEN ARTISTS OF ENGLAND, FRANCE AND GERMANY;

ORNAMENTS BY RIESTER, FEUCHERE, AND REGNIER, OF PARIS;

AND

PRACTICAL AND ORNAMENTAL PENMANSHIP,

BY THE BE£T AMERICAN PENMEN.

ALSO,

CHAPTERS ON TEACHING PENMANSHIP, BUSINESS LETTER WRITING,

OFF-HAJMD FLOURI£HINQ, HOW TO PREPARE SPECIMENS FOR PHOTO-ENQRAVINQ,

WRITING CARDS AND INVITATIONS, Etc.

By G. A. GASKELL,

Author of Gaskell's Compendium of Penmanship and Gaskell's Compendium of Forms ;
Principal of Gaskell's Jersey City Business College.

NEW YORK CITY :

PUBLISHED BY THE AUTHOR.
1883.

£.

,**1^ i_

-9 J-

~7pr

HE LinPATlY

_-; -•- •- --

ROVO UTA^

TO THE

Penmen of the United States,

OLD AND YOUNG,

WHO WISH TO KNOW MORE OF THEIR ART,

How to make it more useful and more profitable to themselves,

THIS BOOK,

BY ONE OF THEIR CRAFT, IS MOST AFFECTIONATELY DEDICATED BY

fp-JW ^1^'tfto-r-.

*J0HN

*?■

4**

.. ®

Penmen and Artists

^ATIEIOSIE! "WOIFUS. APPEARS IIsT THIS BOOZKL.

Foreign.

WILLIAM JONES, - London.

A. CAULO, - Paris.

MARTIN RIESTER, Paris.

EDUARD HEINRICH MAYER. - - Leipsig.

THEODOR REINECK, - - - Weimar.

J. H. REGNIER, Paris.

J. WISSLER, - Paris.

L. FEUCHERE, Paris.

HENRY SHAW, F. S. A., - - - London.

And several unknown ancient Penmen.

flMBI^IGAM.

* HENRY DEAN, - - - New York.

JONES, -■ -

* PHEBE JOHNSON, - - New York.

H. W. KIBBE, -

Utica.

*PLATT R. SPENCER, Sr., - Geneva, Ohio.

F. W. H. WIESEHAHN,

St. Louis.

* JOHN D. WILLIAMS. - - New York.

J. W. SWANK,

Washington.

A. H. HINMAN, - - - Worcester.

W. E. DENNIS, -

Brooklyn.

H. W. FLICKINGER, - - Philadelphia.

* JAMES FRENCH, -

Boston.

* GEORGE N. COMER, - - - Boston.

B. M. WORTHINGTON,

Chicago.

J. E. SOULE, - - - Philadelphia.

THOMAS J. STEWART,

- Trenton.

H. C. CLARK, .... Titusville.

G. A. GASKELL,

- New York.

* Deceased.

•

1 *

(3 ■*

— 0

-HERE has been no time in the history of this country when Penmanship
of all kinds, business and ornamental, was so weh1 appreciated by all classes
of people as it is to-day. The newly invented process of photo-engraving,
by means of which properly prepared work may be so engraved on relief plates
as to appear exactly as executed with the pen, has increased the demand for
work of this character, and it is in much request for all sorts of artistic
illustration.
This book is intended to be — and is — a new departure. The author has followed
no one's plan but his own, and in its preparation he has availed himself of all the best
authorities, from the earliest dates. The History of Writing will be found more
complete and more reliable than any other that has been published ; and much space
is given to matters that will serve to enlighten the reader as to certain claims made
by our predecessors, about which there has been some controversy. No thinking
person will examine, carefully, the affidavits relating to the improved methods formerly
supposed to have originated with Carstairs, without forming an opinion as to the
justice of his claims ; and other things of more or less similar importance are included.

A large number of ancient letters and devices in use between the Saxon period and the reforma-
tion are herein reproduced ; several sets of alphabets by English penmen of a later date ; twenty full page
alphabets by A. Caulo, a pen artist of Paris, in 1845 ; and others by Theodor Reineck and Eduard
Heinrich Mayer, the best German artists of the present. Also full page facsimiles of artistic ornaments
which any penman can work up to suit his own taste and skill, in engrossing of various kinds, and in his
own pen sketches. These, executed by the leading artists of France, Martin Riester, L. Feuchere
and J. H. Regnier, illustrating the four schools of art, are among the very finest ever printed in a book
for general use.

The easy, graceful pieces of our own American penmen will be liked best, no doubt, by all of our
younger patrons. In rapid off-hand work, comprising pen flourishing and practical writing, America
leads the world. These grace lines, simple as they may seem to the school boy of our own country, have
never been equalled by any of the penmen of Europe. Perhaps it is the air of this free Republic that gives
breadth of curve and strength of stroke, and grace, and harmony, and all that make such pictures at all
pleasing. Certain it is that the art seems to be native to the soil, and can be found in its perfection
nowhere else.

But in the single matter of engrossing, our penmen have followed so closely the hackneyed style
of a few American pen artists, originating nothing, and adding nothing new from European workers,

~7[

>>v

PREFACE.

where there is a wide field open to them, that their work is unsatisfactory, not only to themselves, but in
many cases to their patrons. The old style of pen lettering is now fashionable, and engrossing may be
made doubly attractive by introducing such styles of lettering as are given in these pages from the old
masters ; such, for instance, as the alphabet by Shaw, of the London Art Society, and the ornamentation
suggested by Riester, Feuchere, and Regnier.

The author has spent the better part of his life as a practical teacher of writing, and has examined
all the various systems and methods. In the chapter on Teaching Penmanship he has endeavored
to give such hints as to teaching as seem to him most important ; among these is a simple, rational
analysis that will commend itself to the practical common sense of American parents, as well as to
children, and which will do more for a class than any other he has ever seen put in practice. He will
take his chances as to the success practically of that part of the work : if it does not do some good, and
counteract, in a measure, the senseless trash promulgated by many, it will, on the other hand, do no
harm.

For the forms of Invitations, Visiting Cards, and the like, he is indebted to Messrs. Carroll &
Dempsey, of Union Square, who are considered authority by our best society.

The other portions need no comment. It is hoped they will all serve a good purpose, and be of
much benefit to all professional penmen and students.

G. A. GASKELL.

New York, January i, 1883.

Q »^_

T is thought by the best
authorities, that the many
ancient systems of writing
had at least three different
sources, the Egyptian, the
Assyrian, and the Chinese.
All of these systems were
originally hieroglyphic.
Hieroglyphics, then, were the prime-
val invention of the art of writing, and
the first rude effort of expressing by
pictures the images of the mind with-
out the aid of speech. In time, char-
acters were added, and this formed the
second stage, or improvement of the
art. This curious attainment was con-
fined to the priests and the nobility,
and kept from the vulgar, who were
deemed incapable of understanding the sublime
truths of religion and state policy.

The progress of writing in England is well de-
scribed in an old book published in London, some
seventy years ago. The author says : " The inva-
sion, or rather the assistance of the Saxons, taught
England many arts. The Danes impressed her with
the value of a navy, her natural bulwark. The
Normans, the parents of our regular dynasty, en-
riched the conquered soil with luxuries and improve-
ments she was previously unacquainted with. Lite-
rature, from this epoch, made hasty strides ; trade
made Britain acquainted with the whole world ; and
knowledge from a thousand sources enlightened the
land. The dark, uncouth character of the Saxon
letter soon yielded her empire to her fair sister, the
Roman ; which, for elegance and beauty, appears a
perfect model of invention, and ever will prevail."

Not longer ago than during the reign of Henry
IV., writing was so little known in England, that
scarcely a bishop or archbishop could subscribe his
name, and very few of the rest of the "learned men "
of the day. Learning was at the lowest ebb. Among
the clergy, the repeating of their breviary by rote
constituted about the entire stock of their available
knowledge. This midnight of ignorance continued
until the reign of Henry VII., during which America
was discovered ; curiosity stimulated inquiry ; the
people began to think and to reason. This faint
dawn of intelligence broke out into a glorious morn-
ing during the reign of Elizabeth. The arts flour-
ished ; literature was cultivated ; and progress was
made throughout the nation.

Since then, England has had some of the best and
most famous writing masters the world has known,
to whom we are indebted for the most of what we
teach to-day.

The first authors of any note, says Ellsworth, are
John Baildon and John de Beauchesne, who pub-
lished a quarto volume, in London, in 1570, styled
"A Book of Divers Sorts of Hands." It contained
a set of copies of the various handwritings then in
use, which, according to Mr. Astle, were the set
hand, the common Chancery and the Court hands,
partly Gothic and partly Norman, and were used in
records and judicial proceedings. The Secretary
hand, in use for other purposes, first began to be
popular about this period. Beauchesne was a school
master at Blackfriars, and his work was principally
an illustration of the French and English hands, the
Italian, Court and Chancery hands, with the just
and true proportion of the capital Roman letters.
This book opened lengthwise, and for that reason
was considered very remarkable, and probably our
modern copy books have been constructed on a

**i

HISTORY OF WRITING.

similar plan, without their authors' knowledge of
the reason.

The next author of celebrity was Peter Bayles,
born in 1547, who published, in 1590, a work called
" Brachygraphy ; or, the Writing Schoolmaster, in
throe books, teaching Swift Writing, True Writing,
and Fair Writing." At least two editions of this
work were issued. Peter Bayles seems to have occu-
pied a prominent place in the biography of his time.
He presented to Queen Elizabeth, at Hampton
Court, a remarkable piece of fine writing ; the
Lord's prayer, the creed, the ten commandments,
two short prayers in Latin, his own name and
motto, with some other things, written in a space
within the circumference of a penny. It was Bayles
who was employed by Secretary Walsingham to
counterfeit handwriting for political purposes ; by
which means this statesman, acting
on the axiom that "the end justi-
fies the means," was enabled to
baffle the designs of his own and
his country's enemies. When his
work on writing appeared, he re-
ceived congratulatory addresses in
poetry from a good many of the
eminent personages of the time.

Immediately succeeding Bayles,
in 1590, we have a work by William
Kearney, entitled "A New Book
Containing all Sorts of Hands
Usually Written in Christendom,
with the true proportions of the
Roman Capitals," but this was thought to be a mere
copy of Beauchesne.

At this same period, and in this same year, a
Neapolitan scholar gave to the world a book called
" De Occultis Notis Literatim," which describes one
hundred and eighty modes of secret writing.

Herman Hugo, a Jesuit, in 1617, published a
work — Prima Origine — on the first origin of writ-
ing. This was translated into German in 1738, by
a man named Trotz, and was again translated into
French, and published in Paris in 1774. This must
have been considered an important book, since it
was given to the public in the three leading
languages of Europe.

In 1662, David Brown, a Scotchman, published
his " New Invention ; or Calligraphy, the Art of

Pen Drawing. Date, 1495

lair Writing ; " this was followed by another book
which he styled "The Whole Art of Expedition in
Writing." This latter appeared in 1668, in quarto
form.

About this time, Sir William Petty published his
work on double writing, which was on much the
same principle, we presume, as the pentograph or
our manifold writer — a mere plan for copying. But
it led the way for the author's advancement in life.

The most industrious penman of this period,
whose works had the greatest sale, and therefore
the most influence, was Edward Cocker. The
following carefully prepared sketch of Cocker is
by an old writing master :

This ingenious and very industrious penman
and engraver was born in the year 1631, which I
compute thus : In his copy book entitled " Plumoe
Triump/ius," published 1657, is
his picture, with this inscription
beneath, "jEtatis suae 26," which
being subtracted from 1657, gives
the year of his birth as aforesaid.

I have not met with memoirs
relating to his extraction, or where
he was born, or from whom he
received the rudiments of his edu-
cation. We first find him in Lon-
don, and it is probable he breathed
his first air in that city.

He has been blamed for writing
and engraving too much, and
thereby debasing the art he at-
tempted to promote and illustrate.
Mr. Robert More, in his short essay
"On the first invention of writing,"
says that " after Cocker commenced as author, the
rolling press groaned under a superfetation of such
books as has almost rendered the art contemptible,"
and Mr. Champion, in his historical account of pen-
manship, prefixed to his " Parallel," echoes the
same complaint ; adding, that led on by lucre, he
let in an inundation of copy books. Now, what-
ever foundation there may be for this charge in
general, he was certainly a great encourager of
various kinds of learning, an indefatigable performer
both with the pen and burin, an ingenious artist in
figures, and no contemptible proficient in poetry,
as will manifestly appear, I think, to any one
who thoroughly examines his numerous works that
are still extant. His writing, I allow, is inferior to
what we have from the hands of some of our late
penmen, and there is not that freedom and liveliness
in his pencilled knots and flourishes, that there are
in pieces done by command of hand. But let us

V7 1

HISTORY OF WRITING.

mscnp-
" E tat is

Old Initial. Date. 1550.

consider the time in which he lived, and what little
improvement there had been made in the modern
way of penmanship, and we may justly make allow-
ance for the many defects that now appear in his
books, and say with the poet :

" Let the impartial judge, in every case,
Weigh well the circumstances, time and place ;
All these considered, the accused may
With justice be discharged on such a plea."

In the year 1657, our author published his "Plunuz
Triumphus" (in some
tide pages it is " The
Pen's Triumph "), in-
vented, written and en-
graved by himself. He
lived then on the south
side of St. Paul's
Church, where he taught
the art of writing. This
was probably his first
work from the rolling
press. It contains six
plates in a small quarto.
His picture is in the
front, with this
tion over it,
suae 26." So that
seems as if he had a
design in this, his first
book, to write just as
many leaves as he was
years old ; but I advance
this only as a conjecture,
for in a copy of verses
prefixed to this book, by
S. H., he mentions " The
Pen's Experience," as
Cocker's first work;
"Art's Glory," the sec-
ond ; "The Pen's
Transcendency," the
third; and "The Pen's
Triumph," the fourth.
In the second page there
is a dedication, " To the
ingenious and able pen-
man and arithmetician,"
his honest friend, Mr. <s>-
Richard Noble, of Guilford, in Surrey.

In the same year (1657), he published his " Pen's
Ascendency; or, Fair Writing's Labyrinth." It
contains thirty -two small oblong folio plates,
besides his picture at the beginning, and a large
plate at the end, informing the reader that he lived
in St. Paul's Churchyard, where he kept school
and taught writing and arithmetic. The writing is
mostly Secretary and Italian, according to the cus-
tom of those times, with a great many labored knots

is another
then aug-
including

and languid pencil ornaments. There
edition of this book in 1660, which was
mented, containing forty-three leaves,
letterpress work.

In 1659, he set forth "The Artist's Glory; or,
The Penman's Treasury," " with directions, theo-
rems, and principles of art " in the letterpress work.
It contains twenty-five plates, and at the end of the
book is the following Latin anagram, by one Jer.
Collier :

"edoardus coccerius.

" O sic curras, Deo duce !
Obstupeat, quisquis, Cocceri,

scripta sagaci
Lumine perlustrat marte per-

acte tuo.
Igenium and genium, natu-

rem mirer an artem ?
Ducta, Deo celebrem te tua

dextra facit.
Macta nove virtute, puer,

monumenta prioris,
Ut superes pennae, O sic duce

curre Deo ! "

-<t>

From Lancelot DU Lac Date, 1515.

Pen Lettering. Date, 1516.

1661, he

" Penne

In the year
published his
Volans ; or, Young
Man's Accomplish-
ment," to which he pre-
fixes this distich,

" Whereby ingenious youth
may soon be made,

For clerkship fit. or manage-
ment of trade,"

invented, written and
engraved by himself. It
contains twenty - four
plates, besides his pic-
ture at the beginning.
In each leaf there are
directions for the prin-
cipal rules of arithmetic.
The best performances
in this book are the Ger-
man Text Capitals, and
the examples of the
Court and Chancery
hands.

In 1654, he published

Penmanship," of which there is

in 1673. It contains twenty-two

besides his picture at the

-<§>

his " Guide to

another edition

oblong folio plates,

beginning, where he is drawn in his own hand, with

a laced band, and these lines underneath :

" Behold rare Cocker's life, resembling shade,
Whom Envy's clouds have more illustrious made ;
Whose pen and graver have displayed his name
With virtuosos in the book of fame."

This book abounds more with ornamental

<s~

HISTORY OF WRITING.

flourishes and pencilled figures, than examples of
free and sound writing. At the latter end of it
there are five leaves of letterpress work, setting
forth some extraordinary rules and directions (as he
expresses it), for everything belonging to the art of
fair writing.

A. D. 1672, he published his "Magnum in
Panto ; or, the Pen's Perfection," invented, written
and engraved by himself. It contains twenty-six
plates in large octavo, with rules for writing, and
some verses in four leaves of letterpress work.
This book was engraved on silver plates. Thomas
Weston, a contemporary penman, has some verses
in this book, which I give, not for their elegance or
harmony, but because they mention many of the
most celebrated pen-
men, both abroad and
in England :

'■ Let Holland boast of

Velde, Huvilman,
Of Overbecque, and Smyth-

ers, the German,
France of her Phryius and

Barbedor,
The unparalleled Marterot

and many more ;
Of those that follow Rome

and Italy,
Yignon, and Julianus Selevy,
Hayden and Curionne, and

in fine.
Of Andreas Hestelias, Argen-
tine ;
England of Gething. Davies,

Billingfly."

A. D. , he pub-
lished "The Tutor to
Writing and Arithme-
tic," without date. It
contains sixteen small
quarto plates, mostly in
Secretary and Italian,
to which is added a
sketch of arithmetic as

far as the Rule of Three, in fifty-seven leaves of
letterpress, printed by John Garret, in Cornhill.

In 1668, he published his " England's Penman,"
exhibiting all the curious hands in use in England ;
twenty-eight brass plates in folio.

Some time before 1676, he published his "Com-
plete Writing Master ; " twenty-three pages in
octavo.

He also published, some time before his death,
" The London Writing Master ; or, Scholar's
Guide ; " fifteen small plates, without a date. In
some editions of this book, there are added four
leaves, containing directions in verse and prose,
" How to write well."

Besides these books that I have taken notice of
that our author published from the rolling press, I

Pen Lettering. Date. 1539.

find in the MS. "Adversaria" of Wm. Oldys, Esq.,
the titles of the following books, which were also
the productions of his fertile pen :

1. "Multttm in Parvo ; or, the Pen's Gallantry,"
quarto, price is.

2. "Youth's Directions," to write without a
master.

3. "Young Lawyer's Writing Master."

4. " The Pen's Facility."

5. "The Country Schoolmaster."

6. "Introduction to Writing," containing excel-
lent copies of Secretary, Italian, Court, Chancery,
etc., price 6d.

I cannot ascertain the precise time of Mr.
Cocker's death, nor where he died. I think, how-
ever, it was in the year
1677, the 46th year of
his age.

The works that we
have of this laborious
author, that came from
the letterpress, are
these :

1. A book entitled
"Morals," or the
"Muses' Spring Gar-
den," a quarto of fifty
pages, containing dis-
tiches, in alphabetical
order, for writing
schools ; dedicated to
his friend, Eleazer Wig-
an, whom he calls " that
famous writing master,
living at the Hand and
Pen, on Great Tower
Hill." This dedication
is in verse, the first lines
of which may serve
as a specimen of the
whole :

W^^»^

A^^^^W^I

Jill

^j^^

**!P1I

" To you, you rare commander of the quill,
Whose wit and worth, deep learning and high skill
Speak you the honor of great Tower Hill."

2. In 1677, Jno. Hawkins, writing master at St.
George's Church, Southwark, published " Cocker's
Vulgar Arithmetic," a small octavo, recommended
to the world by Jno. Collens and thirteen other
eminent mathematicians and writing masters. There
is his picture before it, under which are these four
lines.

" Ingenious Cocker, now to rest thou'rt gone.
No art can show thee fully but thine own.
Thy rare arithmetic alone can show,
What sums of thanks we for thy labors owe ! "

Jno. Collens, in an advertisement to the reader,
at the beginning of said book, says that he was well

HISTORY OF WRITING.

acquainted with Mr. Cocker and knew him to be
studious in the mysteries of numbers and algebra,
of which he had choice MSS. The fortieth edition
of this book was printed in 1723.

A. D. 1695, the same Hawkins published " Cock-
er's Decimal Arithmetic," in octavo, to which is
added his "Artificial Arithmetic, containing the
doctrine of composing and resolving an equation."
The fourth edition was printed in 17 13.

Mr. Cocker had a large library of rare MSS.
done by several writing masters, and printed in
various languages, relating to the science he pro-
fessed. Some of the most curious were purchased
by a nobleman at a great price.

In a copy of "Cocker's Pen's Triumph," that I
have by me, which was sold by
Robert Walton, at the Globe and
Compasses, on the north side of
St. Paul's Church, there is the
following note in the title page :

" Where are also sold E. Cock-
er's ' Pen's Celerity,' and ' Fair
Writing's Store-house,' the last
and largest E. Cocker hath made,
for that called, ' A Guide to Pen-
manship,' was made by Mr. Dan-
iel, and because it sold not, they
have put out Mr. Daniel's name,
and got Edward Cocker to add
some few other copies to them
and to prefix his name."

Now, whether this was some
crafty design of the bookseller, or
real matter of fact, I cannot say,
nor who are meant by "they" in
the old advertisement, neither
have I met with this odd adver-
tisement, nor have I ever seen
this largest book of Cocker's en-
titled "The Pen's Celerity," if
ever such an one existed. The
changing of the titles of books,
sions, has been reckoned a
the booksellers.

Date, the Beginning of the i6th Century

on some
common trick

occa-
among

Daniel Richard followed Cocker in 1669 with a
compendium of the most useful hands of England,
the Netherlands, Spain, France and Italy.

Edmund Wingate, a member of Parliament and a
mathematician of note, born in 1593, and who died
1656, left a work called "My Remains; or, Tutor
for Arithmetic and Writing," a book very much of
the Cocker sort, and of little originality. Wingate
appears to have been a friend of Cromwell, and
took part in the civil wars.

"An Exact Lineal, Swift, Short, Easy Method

of Writing," by William Mason, appeared in
1682.

Claude Comiers, a canon of Embrun, who died
in 1693, published a work entitled a " Treatise on
Speech, Language and Writings," which appears to
have been very popular, from the fact that it was
afterward republished at Paris, Brussels and Liege.

In 1734, a very curious publication made its
appearance in London, of which David Casley was
the author. This work would be very valuable at
this time, as it would afford us an opportunity to
review the progress of the art prior to his day. It
contained one hundred and fifty
different specimens of the man-
ner of writing in the different
ages, from the third to the fif-
teenth century.

Joseph Champion, born in 1709,
was the most celebrated penman
of his day, and the best in the
world at that time. His schools
were filled with scholars from the
most aristocratic families of Eng-
land. His publications were nu-
merous, and embraced complete
alphabets of characters, copies of
engrossing hands, living hands,
etc.

In 1763, the principal of a
boarding school in Surrey, Wil-
liam Massey, published a work
from London, showing the origin
of letters, which contained an
account of writing from the earliest ages, and the
lives of the most distinguished English penmen.

The celebrated D'Alembert, in 1760, published
his reflections on the history and different methods
of writing.

Subsequently works on the same subject were
published, of which King, Robert, Scott, Brayley,
Milns, Butterworth, Thomson, Smith, Tompkins,
and Hodkins were severally the authors.

Thomas Astle, keeper of the records in the tower
and an antiquary of reputation, published in 1803, the
year of his death, a very beautiful work on the origin
and progress of writing. A copy of this book is to
be found in the Astor Library, of New York City.

<9~

-a

HISTORY <)l WRITING.

Janus Henry Lewis published in London, in
1816, "A New Method of Rapid Writing, whereby
a proper business hand may be acquired with ease
and certainty in a few short and interesting lessons,
and its principles and practice are rendered familiar
to the meanest capacity ; clearly demonstrating the
superiority of the New Prin-
ciples of Penmanship ; by
which any person, though
but little acquainted with
the subject, can detect and
easily remove the various
impediments which retard
his progress in the Art of
Writing." The book before
us bears no date — a common
fault of old books. This
belongs to the " thirty-ninth
edition," has nearly one hun-
dred large quarto pages, sub-
stantially bound. It is dedi-
cated to Sir Walter Scott, as
follows :

1 1 1 SIR WALTER SCOTT, BART.

Honoured by your permis-
sion to dedicate to you this
work on the "Art of Writ-
ing," I shall endeavour, in
expressing my gratitude, to
prove myself not unworthy
of your patronage, by avoid-
ing the fulsome panegyrics
which are too frequently em-
ployed on similar occasions ;
satisfied, that if your reputa-
tion required the flimsy aid
of flattery, I should not de-
rive honour from this in-
scription, nor yourself credit
from such eulogium

I feel proud in being al-
lowed to offer this produc-
tion to the public under the
auspices of one whose hon-
ourable exertions in promo-
ting the diffusion of useful
knowledge are so well known throughout the empire

With the hope that its utility may be appreciated
by a patron I so much esteem,

I subscribe myself, with great respect,
Honoured Sir,
Your most obliged and obedient servant,

James Henry Lewi-.

Lewis' first book, " The Flying Pen ; or, New and
Universal Method of Teaching the Art of Writing,
by a System of Lines and Angles," to which refer-
ence is made in this work, was issued in 1806. The
author claims to be the inventor or discoverer of the
principles which, from that time to the present, have

been a part of every pen-
man's stock in trade, but
which have been generally
credited to Carstairs, one of
his contemporaries. Much
space is taken up in ex-
planation and defence of
the Lewisian System. We
copy :

NOTICE TO THE PUBLIC

As many vile stratagems
have frequently been tried
by an interested competitor
to mislead the public, re-
specting the "new system
of writing" — an invention
which has cost me many
years of anxious study and
experiment — I have deter-
mined to republish the fol-
lowing Affidavits, in order
that the public may not be
deeewedbj those Imitators,
who endeavour to divert pub-
lic patronage from the proper
channel ; but, though I feel
the necessity of adopting this
mode of securing my prop-
erty from the rapacious grasp
of an ungrateful impostor,
I would rather invite di-
rect and personal examin-
ation of the merits of my
system ; as I aim at no other
preference than that which
I may be really found to
deserve.

From the Missale Tkaijectensb. Date, 1315

AFFIDAVIT.

3.011&011 l if James Henry
to JRHt. ) j , WIS> of N() I04>

High Holborn, in
the parish of St. Andrew, in the county of Middlesex,
the inventor and first teacher of the "new method of
writing," solemnly declare and affirm on my oath, a>
follows : —

That the genuine system of improving writing,
which practically and scientifically combines the
various motions and operations of the hand and arm

<2_

:>L

HISTORY OF WRITING.

in perfect unison with each other, is wholly and alto-
gether my own invention.

That I am thoroughly convinced there can be but
two principles of penmanship — the old and the new
— the one performed by the Manual movement only j
— the other by the united Manual and Scapulary
operations, which is introduced into, and forms the
basis of the Lewisian System, — and that all the re-
cent modifications of writing have arisen from these
principles.

That I firmly believe, and can prove from un-
doubted authority, that all those persons who have
taught, or who are teaching the " new system of writ-
ing," have derived their knowledge of such invention,

charged him the sum of two guineas for the course
of lessons. And this the said James Mowat has
solemnly affirmed by an Affidavit which he has
made on the subject.

That I have frequently heard the said Joseph
Carstairs acknowledge that he had taken lessons of
the said James Mowat at Sunderland aforesaid.
And that I can, moreover, produce those who are
ready to attest this fact on oath. To confirm and
corroborate which, I have, also, in my possession a
certain document in the handwriting of the said
Joseph Carstairs, unequivocally avowing and ac-
knowledging that at the time of his writing the afore-
said document (March, 1812), he then taught the

From a Copy of the Romant De La Rose. Date, the Beginning of the i6th Century.

and the idea of regulating the various motions of the
hand and arm in performing the same, either directly
or indirectly, from me, and my original invention.

That I furthermore believe, and solemnly declare,
that the person named Joseph Carstairs is not the
inventor of any new principles of penmanship ; but,
that he first obtained his knowledge thereof by les-
sons which he received from a person named James
Mowat, writing master, formerly of Edinburgh ; as
I have frequently heard the said James Mowat pub-
licly declare that he taught the said Joseph Car-
stairs the aforesaid " new system of writing " at Sun-
derland (where the said Joseph Carstairs was then
carrying on the business of a tailor), and that he

"new system of improving writing "precisely as it was
communicated to him by his tutor, the said James
Mowat ; which document has been for many months
publicly exhibited in my window, and is at all times
open to the inspection of the public.

That the said Joseph Carstairs afterwards be-
came a Pupil of mine, under the fictitious name of
Robert Drury, and commenced a course of lessons
with me in London, on the 28th of. July, 181 2, for
which he paid me the sum of 2/. 155-. od. And that,
at the time I discovered this trick (which was not
till after he had taken his 5th lesson), I exposed his
conduct to the public, although he offered me fifty
pounds to suppress that exposition.

<5 ^

HISTORY OF WRITING.

♦

That I have frequently heard the said James
Mowat declare that he first obtained a knowledge
of the said "new system of writing" from a person
named Charles Lister, who was first a pupil and
afterwards an assistant of mine. That the said
Charles Lister has frequently assured me that he
did teach the said James Mowat. That he, the said
James Mowat, likewise received a course of lessons
from me ; and afterwards was engaged as my assist-
ant, and finally became
a partner in my estab-
lishment.

That the ridiculous
expedient of writing
dcnomoard in perpen-
dicular columns from
the top to the bottom of
the page, and that of
fettering the hand and
fingers with a bandage
as adopted by the said
Joseph Carstairs,
forms no part whatever
of my system, but is
altogether useless and
preposterous, tending
to produce the most
vicious habits, cramped
and unnatural motions,
crooked writing, and
other erroneous prac-
tices ; all of which it is
the chief object of the
" Lewisian System "
to eradicate and cor-
rect.

Witness my hand,

James Henry Lewis.

Sworn at the Mansion

House, this 29th day

of April, 1 816, before

me,

Matthew Wood,

Mayor.

MR.

HEWSON CLARKE S
AFFIDAVIT.

to e&'Ct.

v3,J <\a there lias never been a roork of this extent in penmanship offered to the
public, even by the most celebrated Masters: the Author indulges himself with a
hope thai the generous patrons of art will not consider this as a presumptuous attempt
in litis work he has endeavoured to give a general display of ^) turn o»t.»Aip. Com pre
heading all those branches of it that are common and most useful as well as those
which are curious, ornamental, and novel. He h as introduced writings in two
and Iwentyhands specifically different from each other. And as aVey to thekuow
ledge of those various writings.lichas inserted an Alphabet of each hand sons
to make this book a conjple^te jpiid/ — -""Jdaxls^of Penmanship.

lip lias alt. 11 added carious I
niimblu, runrrices thai Ihis ins) [_
Hill Hiita;;r in sketching out ; . /,.
Slinialure v i

JimeJ hcpesbyOiis ir. %1*
in.ycuUi/al minds to imilaa C^j£&

tJas tlity may be ledlo llu_rj&- £

i/ig whCcfibasdnnescmti^^

tries inprefsed with this filling he submits the Callow-log Specimens to the
notice of a liberal icDi-'seriuugruhhc where he trusts ic will be appreciated asic
deserves

Photographic Copy op thb Preface op Wm. Jones' Ornamental
Penmanship, Published in London, aboitt the Year 1813.

I, Hewson
Clarke, late
of Emanuel College, Cambridge ; Author
of "The Saunterer," "The History of the
late War," "The continuation of Hume's
History of England," and various other
popular works ; declare and solemnly affirm
on my oath, as follows : —
That I was employed by a person named Joseph
Carstairs, a teacher of a new system of penmanship,

to compose and write for him a work, which he first
published under the title of "A new system of teach-
ing the art of writing," and, subsequently, under that
of " Lectures on the art of writing." And, that I am
the real author of the aforesaid work, notwith-
standing he, the said Joseph Carstairs, has falsely
affixed his name thereunto, as the author thereof.

That when, at first, I permitted the said Joseph
Carstairs to publish the aforesaid work under his

name, it was with the
~^ express agreement (and
this was the chief remu-
neration for my labour)
that the following ac-
knowledgement, which
was printed on the back
of the title-page of the
first edition, should also
appear, in the same po-
sition, in every subse-
quent edition of the
aforesaid work: — "J.
Carstairs feels it his
duty to acknowledge
his obligations for the
remarks and assistance
of Mr. Clarke."

That a "second edi-
tion" of the aforesaid
work, under the title
of " Lectures on the
art of writing," having
been published without
the said acknowledge-
ment being at all in-
serted, I remonstrated
with the said Joseph
Carstairs on this un-
just and foul breach of
his contract. That I
have not been able to
obtain any redress for
the injuries I have
thereby sustained, and
am, therefore induced
to make this solemn
declaration of the facts
connected with the
aforesaid work, pub-
lished under the name
of the said Joseph Carstairs, and of which I am
the real author.

That I furthermore declare, that I composed and
wrote, for the said Joseph Carstairs, those highly
coloured advertisements and paragraphs which have
frequently appeared in the daily and other papers,
for the purpose of puffing him into notice. Also,
that I was the author of that anonymous letter under

gffffi gSBf£5

wings ujiih flip pen anil
hii'iii might be emplaned lu
eueu finishing designs in

lo cxcitea,suitabUcmuIab'cn.

specimens, and thatjiom.

rr/ined. and nab learief paint

'nourtolbcsevcrala'vUizedCoun

_S>

HISTORY OF WRITING.

the signature "Tachygraphus" — which, in the
"Lectures on the art of writing" aforesaid, is ad-
dressed to the editor of the " Morning Chronicle "
relative to the " Lancasterian system." And like-
wise, that I was the author of many commendatory
notices, extracts, testimonials, letters and puffs, which
have been given in the reviews, magazines, and other
periodical publications, in favour of the aforesaid
work, which I had written for the said Joseph Car-
stairs.

That I have frequently heard the said Joseph
Carstairs acknowledge that he first became ac-
quainted with the "new principles of writing" — or,
free use of the fingers, hand and arm — from lessons
which he had taken of a person named James Mowat,
who was a teacher of the said new method. And,
that I can, moreover, prove by other conclusive and
incontrovertible evidence, that the said Joseph
Carstairs did obtain his knowledge of the new
principles of penmanship from the said James
Mowat ; and that he also taught those principles,
according to the system he had obtained from his
aforesaid teacher, until the year 1814.

That I have been very intimately acquainted with
the said Joseph Carstairs for many years; and was,
for a considerable time, in partnership with him as a
teacher. That I always considered him very illit-
erate, and totally incapable of writing on any
subject that required the least degree of talent.
And, furthermore, I most solemnly declare and
affirm that the said Joseph Carstairs has no pre-
tensions whatever to the discovery of the new
principles of penmanship.

Witness my hand,

Hewson Clarke.

Sworn at the Mansion House,

the 1 8th day of June, 18 16, before me,

Matthew Wood, Mayor.

MR. JAMES MOWAT S AFFIDAVIT.

a,0"j9n } !> James Mowat, of No. 104, High Hol-
to ffiRkt. j born> jn the parish of Samt Andrew, in the

county of Middlesex, solemnly declare and
affirm on my oath, as follows :

That I was formerly a writing-master in Edin-
burgh, and there became acquainted with a person
named Charles Lister, who was an itinerant
teacher of a system of writing, which he professed
to be entirely new, and superior to the common
method, which method I was then in the habit of
teaching. That in consequence of his professions, I
received a course of lessons in the said new system
from the said Charles Lister, and practised those
lessons under his immediate superintendence.

That I was informed by the said Charles Lister,
that he was a native of Birmingham, in the county of

Warwick ; and that he had obtained his knowledge
of the aforesaid new principles of penmanship, by
lessons which he had received from a person named
James Henry Lewis, who had been teaching the
said new method of writing in that town.

That I derived great benefit from the lessons I
obtained from the said Charles Lister, and from
that circumstance I was induced to relinquish the
old method of teaching. That since that period I
have had much experience in teaching the said new
system, in various places, especially in the northern
counties of England ; and that on every occasion I
have found it decidedly superior to the old tedious
mode.

That I taught the said new system for a consider-
able time in Newcastle and Sunderland ; and many
persons, including one ' Joseph Carstairs, became
my pupils, received and practised the lessons I set
them, and then and there, and by that means, ob-
tained their first acquaintance with the new method
of teaching writing.

That I believe the aforesaid Joseph Carstairs, at
the time he received his lessons from me, was en-
gaged in the tailoring business ; and that I charged
him the sum of two guineas for the said course of
lessons. That he soon afterwards left the country,
and, as I believe, repaired to London.

That within the last month I have seen and con-
versed with a person named Joseph Carstairs, who
is now professing to teach a new system of writing
in London, and who has also published a work on
that subject. And I most solemnly declare and
affirm that this person is none other than that self-
same Joseph Carstairs, who was a pupil of mine,
as before stated, and to whom I first communicated
the new system as aforesaid.

That the said Joseph Carstairs, in the said con-
versation we had on this subject, acknowledged that
he had taken the lessons as aforesaid, and, at the
same time, he offered to give me the sum of twenty
pounds to remain silent on the subject.

Witness my hand,

James Mowat.

Sworn at the Mansion House,
the nth day of March, 18 16,
before me,
Matthew Wood, Mayor.

AN EXACT REPORT OF THE PUBLIC EXAMINATION
OF WHAT MR. CARSTAIRS CALLS HIS SYSTEM OF
TEACHING THE ART OF WRITING.

Mr. Carstairs having been employed, in his pro-
fessional capacity, by the late Mr. Joseph Hume,
M.P. ; and having succeeded with those who had
been placed under his care, to the entire satisfaction
of that gentleman, Mr. Hume was desirous of bene-

i V

fitting Mr. Carstairs by some public acknowledge-
ment of the beneficial property of the new system, its
great importance to society, and the meritorious
claims of its founder ; who, from the most gross mis-
representations, he had been led to believe was no
other than the said Mr. Carstairs. Under this de-
lusion, therefore, Mr. Hume, with the best intentions,
prevailed upon his friend the late Duke of Kent,
with whom he was then in habits of the greatest in-
timacy, to preside at a meeting on this subject, which
it was proposed should be held on the 9th of July,
1 8 16 ; at the Freemasons' Tavern, Great Queen
Street, Lincoln's-Inn Fields.

There can be no doubt whatever, that both his
Royal Highness and Mr. Hume expected that the
meeting would have been made a fair, open, honest,
appeal to the public ; and that, for that purpose, it
would have been properly advertised, in order that it
might attract the attention of those who were deeply
interested in the subject, and who would naturally
feel a desire to be present on such an occasion. But
Mr. Carstairs never intended that such a meeting
as this should take place ; he knew, full well, that
one of those little snug congregations, which is gene-
rally termed a "hole and corner meeting " — with as
few attendants as possible, would answer his purpose
best ; and, accordingly, the means usually adopted
for making such a circumstance generally known
were entirely omitted, lest a knowledge thereof
might have induced me to intrude myself on the
meeting, and, in all probability, have materially dis-
concerted the schemes of that arch-impostor, Mr.
Carstairs.

■On the 9th of July, 1816, however, the meeting
(such a meeting as it was) did take place ; and I have
been informed that both the Duke of Kent and Mr.
Hume were much astonished to perceive so meagre
an attendance ; for there were not, at any time dur-
ing the said meeting, above thirty persons in the room.
No doubt they expected a very different affair ; — that
hundreds, if not thousands, would have been present,
as was always the case, on every other occasion, when
his Royal Highness presided. But had they known
the trick, they would have ceased to wonder at so sin-
gular a phenomenon ! Yes, Mr. Carstairs knew
full well that I had in my possession such documents
— such damning evidence of his knavery and false-
hood, with respect to his claims to the invention of
the new principles of penmanship, as would have de-
cided the point against him in one minute ; and have
overwhelmed him with shame and confusion : — and
knowing this, he, with the serpent's cunning, con-
trived that I should not know that the said meeting
was about to take place. And, so effectually did he
manage the concern to his own advantage, that it was
not until the nth of July (two days after it had oc-
curred) that I first heard anything about it ; and
then, indeed, through the agency of the self-same

Mr. Carstairs, who, very kindly, sent his own
assistant to inform me of the circumstance.

Supposing, however, I had been so fortunate as to
have known of the intended meeting before it took
place, what would it have availed me, when there was
a determination (and this can be proved on oath) that
I should not be admitted ? for Mr. Carstairs had
given the most positive orders to the doorkeeper, and
to his assistant — who for that purpose was stationed
with them on the top of the stairs, that if I came
there they were "not on any account to admit me,
but were to kick me down stairs." These were Mr.
Carstairs' own words ; and he further added — "if
Lewis should come, and he should be determined to
get in, send for an officer, and give the fellow in
charge, for here he shall not be admitted."

The reader will now see pretty clearly the why and
the wherefore (as Mr. Cobbett has it) there are but
fourteen names, besides that of the Duke of Kent,
attached to the two resolutions "unanimously resolv-
ed," and " resolved unanimously," which were moved
and carried at that " numerous meeting of ladies and
gentlemen ;" when indeed they were so miserably
straightened for signatures of approval, that even
one of the prodigious number who did sign the said
" resolutions " was his own assistant! Heavens!
what a laughable affair ! Thirty persons present !
conjured by Mr. Carstairs into a 'numerous meet-
ing of ladies and gentlemen !" Fourteen persons
only, and his assistant, could be found, in this great
metropolis, to sign the certificate of the deceiver ! Is
there, I would ask, any such circumstance on record ?
anything so puerile and abortive? If this affair does
not realize the tales of "the mountain in labour,"
and "the three black crows," I know not what can !
And then to see the "celebrated teacher," as he calls
himself, stand up and attempt to address that " numer-
ous meeting," with the white of his eyes turned up
in his peculiar manner, and with his usual egotism,
tautology, and bombast, were surely a sufficient apol-
ogy for those who thought of him as Apelles did of
the ignoramus who ventured to criticise his paint-
ings; and who, therefore, so impatiently coughed and
sneezed the "celebrated teacher" into his seat !

As Mr. Hume could have no other motive in this
affair than the public good, and must, therefore, be
desirous that truth and justice should characterize
his proceedings ; I must readily conclude that he
will give me an opportunity of meeting Mr. Car-
stairs before a public assembly, in order that our
claims to the discovery of "the new principles of
penmanship," may be fairly investigated and de-
cided. I, therefore, most respectfully call upon Mr.
Hume to do me that justice which I think, from his
well-known character, I may venture to anticipate ;
and I am satisfied that such an appeal cannot be
made in vain to any honest and honourable man. I
shall, indeed, feel grateful to him, if he will call a

HISTORY OF WRITING.

public meeting at my expense, on this subject, and
will preside on that occasion ; when I most solemnly
assure him that I will prove to his satisfaction, by
the most incontrovertible evidence, that he has been
entirely deceived and imposed upon by the false rep-
resentations of Mr. Carstairs.

Carstairs published his lectures on the art of
writing, "a new system," in 1814, and his " Tachy-
graphy ; or, Flying Penman," in 1815. Whether the
ideas he promulgated were altogether original, or
were borrowed from Lewis, can never be definitely
known.

One of the finest works ever published on orna-
mental penmanship was prepared about this time by
"William Jones, author of the Permanent Writing
Book, or a new System of Writing, patronized by His
Majesty," and published by W. Alexander, 50 Strand,
price one pound one shilling. The words enclosed
in quotation marks appear below the frontispiece
portrait, which represents an intelligent looking
Englishman, of thirty-five or thereabout. The book
contains twenty-two different alphabets, and as fine
specimens of pen drawing as have ever been pub-
lished as such. We give copies of three of these
pages among our plates. They are as good, in their
way, as anything in the book.

America published its first penmanship in 1759, a
work by Jenkins, who gave a correct analysis of
letters, rules for their formation, and general direc-
tions for position of the body ; but he omitted to
give the principles in combinations of words and
sentences, except in coarse hand. He gave no rules
for running hand. The work altogether was of small
merit.

In 1805 Dean's Analytical Guide was printed.
The country was first pretty thoroughly canvassed
for subscribers to it, as it involved great expense
for that time. Among the subscribers were James
Madison, Esq., then Secretary of State ; Daniel
D. Tompkins, Esq., Governor of the State of New
York ; Pr. Pedeson, Consul General from Denmark,
and most of the best business men of New York City
at that day, as well as the professors in the leading
colleges — Yale, Harvard, Union, etc. The price of
the book was ten dollars a copy, and one thousand
two hundred and fifteen subscribers were obtained.
The first edition, then, brought in twelve thousand
one hundred and fifty dollars. A second edition was

issued, of which, no doubt, as many more copies
were sold. From that time to the present America
has led England in penmanship ; and the works
which have appeared from time to time since have
been more worthy of notice than the English, on
account of their greater originality and perfection of
style in the copy pages. Dean's work contained
nearly two hundred pages ; the largest half of it was
devoted to the origin and progress of the art of
writing, which few at this day consider reliable, yet
written in an attractive literary style. We give the
following chapter as a sample from that book :

Penmanship.*

" Sid quid novisti rectius istis

Candidus imperti ; si non, his utere mecum."-J-

Hor.

The remote antiquity, indispensable benefit, and
when gracefully and correctly executed, justly ad-
mired beauties of the art of writing, cannot fail to
recommend it to the particular attention of an en-
lightened public.

No one denies its importance in the busy spheres
of life ; and so intimately is it connected with the
attainment of polite and useful knowledge, that
wherever science is cultivated, it is necessarily con-
sidered an essential introductory acquisition. Pro-
fessional and commercial characters, not only, but
all ranks and conditions of men, derive from it incal-
culable advantages. It is to this inestimable art,
that we are indebted, under Providence, for the reg-
ular transmission of the Holy Scriptures, and the
learning of former ages, until the fifteenth century ;
and although the extensive usefulness of it as a ve-
hicle of public information, was then superseded in a
measure by the invention of printing ; still, as a safe
and convenient medium of private communication,
and a faithful remembrancer of events, involving the
interest either of individuals or communities ; the
blessings to which it gives rise, exceed all imagina-
tion. Nothing furnishes a surer safeguard to the
banking and commercial interests of a state, against
forgeries, than a finely engraven piece of penman-
ship, accompanied with elegant and graceful decora-
tions, intricately wrought, and skilfully disposed.
The reason is obvious, because few possess the skill
and dexterity requisite to a complete imitation ; and
the probability is, that numbers, from this circum-
stance alone, are deterred from an undertaking,
fraught with such mischievous consequences to indi-

* The art of writing, is called Chirography : fine Penman"
ship is sometimes termed Calligraphy ; Shorthand, Brachy"
graphy, or Stenography ; Miniature Writing, Micography ; and
Secret Writing, Cryptography.

f If you know any thing better than this, kindly impart it :
if not, use the present system.

+* <S-

HISTORY OF WRITING.

vidual character and public prosperity. In fine, as
a machine ceases to move when a necessary spring
of motion is removed or destroyed, civilized society,
without the art of writing, would exist only in name.
Religion, literature, commerce, and mechanics, to-
gether with the refined and tender relations of pol-
ished life, would be speedily succeeded by the
vagrancy, indolence, and barbarity, of the savage
state.

Penmanship, however beneficial, is perhaps, of all
other arts, the most neglected, beyond what is neces-
sary for ordinary occasions ; notwithstanding, none
is more susceptible of genuine ornament, and real
perfection ; or affords a more ample scope for the
display of genius and correct taste.

A complete and finished piece is calculated to
yield high pleasure to every mind, that has ability to
discriminate between an ingenious cut and a casual
dash of the pen ; or can perceive the beauties of
form and disposition, in a wild, but harmonious order
of flourishes and decorations.

Regularity and variety are reckoned the chief
sources of beauty in figure ; but it is certain, that in
the exhibition of these two powerful principles, to
the best advantages, penmanship may claim uncon-
tested superiority.

The waving line of Hogarth may be disposed by a
masterly penman, in such diversified and graceful
forms, as to excite the admiration, even of the most
careless observers ; and many objects of nature may
also be represented to a degree of exactness, not to
be surpassed by any other art.

When we consider the comparative ease with
which due excellence is attained in other arts ; the
value of this will proportionally increase. In the
kindred art of drawing, an exact resemblance of the
original is produced by reiterated touches of the pen-
cil, and frequent revision. In mechanics, there are
the same advantages of a slow and gradual progress ;
nor is poesy behind hand in this respect. The poet
may lay aside his composition for a month or longer
time, without any inconvenience ; and then, resuming
the subject, transpose the words, supply deficiencies,
and correct redundancies, until the whole meet his
approbation. But, the penman enjoys no such lib-
erty, or leisure for improvement. Perfection must
be produced in the first attempt ; or not at all. De-
signed emendations seldom fail of issuing in contrary
effects. In what are called the round hands, partic-
ularly, such accuracy of conception, and such com-
mand of the pen, at the same instant are required, as
will enable him to delineate for a number of times,
in uninterrupted succession, the most distinct and
difficult strokes. The figure of the letter must be
formed exactly according to his preconceived idea of
it ; and precisely of the same size and shape, as often
as it recurs. The whole piece, when thus finished,
must not only be clean and neat, but display an air

of freedom and ease, without the least mark of stiff-
ness or restraint. Is it then a matter of surprise,
that the art of drawing has hitherto borne away the
palm of reputation ? So little nice precision, and
dexterity of hand, are necessary therein, that a youth
of but ordinary parts, will, after a trifling practice,
appear to make great proficiency ; whereas, in writ-
ing, he must bestow considerable time and labour
before he can attain to any tolerable degree of excel-
lence. A juvenile production from a drawing school,
if it wear the least semblance of real objects, natu-
rally excites pleasure in the mind of a parent. — He
views, and reviews it ; and with undissembled' fond-
ness, exhibits it to every friend, as a pleasing speci-
men of skill and improvement ; while, at the same
time, he blushes to take up the copy book, lest he
should betray the stupidity of his child, by a collec-
tion of clumsy and irregular scrawls.

The frequent mortification of parents on this
account, is, no doubt, a principal cause of that con-
tempt, in which penmanship, as a polite accomplish-
ment, is too generally held. But the blame is ill
charged, as well on the infertility of the art, as the
dulness of children ; for the true source of failure is
the mode of instruction.

In the present day, the art is acquired by imitation
alone. The primordials, or grounds of it, are but
imperfectly unfolded to the youthful mind. Letters
are formed altogether independent of rules, or in a
loose, untutored way, just as the eye happens to light
upon the model. So that the want of intellectual aid
can only be supplied by the long practice of the
hand. Thus, the powers of genius are locked up,
and the edge of infant ingenuity effectually blunted.
Few excel, because few can imitate to perfection ;
and the knowledge acquired after this manner, is
precisely the same as that of one pretending to an
acquaintance with geometry, who knows not a single
axiom or principle on which the science is founded ;
but only because he can delineate something like a
triangle, or parallelogram.

The inconveniences of the current method of in-
struction, are completely obviated upon the analyti-
cal plan. This resolves the art into its pure and
original principles — Principles founded on the nicest
discriminations of taste, and calculated to restrain
that arbitrary practice, and to prevent those devia-
tions of caprice, so inimical to the elegance and
utility of writing. The letters of the alphabet are
thereby reduced to as few elements as possible, con-
sistently with a practical application ; and the pupil
is thence conducted by regular and steady advances,
to the most complex and refined ornaments. That
accuracy of conception and corresponding motion
of the pen, that command of the hand, which is
necessary to conduct it slowly and correctly, and to
accompany it in its progress with different degrees of
pressure, which but few have attained in the com-

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HISTORY OF WRITING.

mon way, are the certain and natural effects of a due
attention to a few fundamental rules.

Habits of effeminacy, stiffness, and the like, how-
ever firmly fixed, are effectually conquered, and fol-
lowed by a surprising manual facility at forming the
most correct, masculine and beautiful strokes. There
is another important advantage resulting from this
plan, which deserves to be mentioned. The art is
acquired in a very inconsiderable portion of time ;
whereas, in ordinary cases, children spend years,
which might be profitably devoted to the pursuit of
other objects, before they can write a moderate, or
even intelligible hand. Being pre-eminently calcu-
lated, therefore, to promote the public good, it de-
servedly merits public encouragement. The Analy-
tical process, as a sure guide to first principles in
subjects of speculation, is abundantly sanctioned by
successful experiment. The wild fancies of the
Stagirite, would, in all probability, until now, have
maintained a tranquil dominion over the minds of
men, had not the illustrious Bacon, disregarding the
false prejudices of the times, developed, by that
means, the genuine principles of philosophy. A
flood of light then burst in upon the world, which
has increased to a perfect day. And, doubtless,
under the auspices of learning and liberty, it may be
fondly anticipated, that at no distant period, the art
of writing, by a generous patronage of a system so
obviously eligible, will arrive at a celebrity inferior
to none of the polite accomplishments, and become
the favourite pursuit of men of genius and taste.

A principal object of the present publication is, to
simplify the art of writing, to elucidate its principles,
and by laying down a compendious set of rules, to
place it more within the reach of those, whose local
situation, or other circumstances, preclude them from
the advantages of the best masters ; to assist parents
and teachers, who have not made writing a study,
yet who, from motives of convenience and a regard
to public utility, find it necessary to teach it along
with other branches of education.

The specimens exhibited in the plates of this work,
are not offered to the public, as faultless, or superior
to all others ; on the contrary, the author frankly ac-
knowledges, that some inaccuracies are discernible,
which may probably offend the eye of a nice critic ;
but he hopes the rules, while they point them out,
will at the same time instruct the learner how they
may be avoided.

Ornamental writing is properly the province of
adepts in the art. Indeed it is in this department,
that the greatest latitude is given for the display of
genius ; for whoever has seen the best performances
of this kind, must confess that they exhibit many
pleasing pictures, and discover a very great share of
ingenuity and dexterity ; not only in the wild, yet
beautiful order of flourishes, but also in the artful
manner of arranging the different branches, and bal-

ancing the general effect. In fine, when we take into
the penman's province the art of striking, and con-
sider the eminent beauties which may be produced
by a due intermixture of the various ornamental
hands now in use, set off with scrawls (or flourishes)
well formed, and judiciously placed, we shall find, as
has frequently been the case of late, that a capital
piece of writing deserves to appear among the pro-
ductions of the other polite arts ; that the principles
of penmanship are better founded on true taste, than
may in common be imagined ; the graceful and easy
flow of its touches, will be often found superior to
any thing produced in its imitation, by the engraver
and the rolling press ; and that it has truly merited
the golden and silver pens, which have sometimes
been given by the public, for its encouragement.

" Sure in its flight, though swift as eagle's wings,
" The pen commands, and the bold figure springs ;
" While the slow pencil's discontinued pace
" Repeats the stroke, but cannot reach the grace."

We give on another page a lithographed copy of
one of the pages of Dean's book.

A book by Wrifford appeared in 1810, Guernsey's
Angular Hand, in 1820 ; another book by Wrifford
was issued in 1824, in which he advocates two meth-
ods for the hair stroke and shading. Following these
were several copy book systems of little account,
though giving a good style for imitation.

In 1845, A. Caulo, of Paris, published his book of
"Alphabets," comprising twenty full page alpha-
bets, the best that had ever appeared in France.
Thousands of copies were sold all over Europe ;
but to-day there is no book of that date more diffi-
cult to obtain. We give the entire contents of that
volume in the twenty alphabets at the end of this
chapter, each reproduced exactly as to size, and in
every other respect.

Root published his analytical system in 1843, at
Philadelphia ; Foster's development of Carstairs' sys-
tem appeared at Albany, 1830 ; Spencerian, by P. R.
Spencer, 1848 ; Duntonian system, by A. R. Dun-
ton, Boston, 1853 ; Payson, Dunton & Scribner,
Boston, 1854 ; Potter & Hammond, Providence,
1855 ; Knapp & Rightmyer, New York, 1856 ; Beers,
New York, 1857 ; John D. Williams, New York,
i860; A. Cowley, Pittsburgh, 1863; Isaiah Ryder,
Cincinnati, 1863 ; Williams & Packard's Gems, New
York, 1867 ; Comer's, Boston, 1869 ; Gaskell's Com-
pendium, 1873, besides several other "systems" in
various parts of the country, that are hardly deserv-
ing of mention in this connection.

~ V

«J*> ^

-s> >?■

HISTORY OF WRITING.

The only successful systems appear to be founded
upon the Lewis or Carstairs system, which Lewis
claimed would mark a new departure in the history
of writing, and rank as one of the greatest discov-
eries of modern times ! His prophetic words must
have looked bombastic enough to his contemporaries.

Handwriting is constantly undergoing modifica-
tions. The tendency is to drop all unnecessary and
useless lines, to write as rapidly as is consistent with
legibility, for in this day speed is the great desidera-
tum. Yet there has never been a time in the history
of the country when ornamental penmanship was

better appreciated than it is to-day, and it is the ob-
ject of this book to exhibit for the use, as well as the
admiration, of self teaching learners, as well as pro-
fessional penmen everywhere, the best work from the
masters of England, France, Germany and America,
both of the past and present. It will be seen that
we are entering upon an era of good writing, though,
in some respects, we cannot excel the old masters in
lettering ; that no such ornamental off-hand work and
easy, practical writing has ever been done in the
world as our penmen in the United States, with their
improved writing implements, are now executing.

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HISTORY OF WRITING.

From a Volume Entitled, "Preservation of Body, Soul, Honor and Goods." Nuremberg, 1489.

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No. 2. Date, 1489.

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Datk, 1530.

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BSH I P.

■HERE is one profession —
and it is about the only one
— that is not overcrowded ;
where there is room, not only
upstairs, but downstairs. The
business is honorable and be-
coming more so, and the re-
muneration is ample and sure.

If the writer were beginning life
again, and had before him the choice
of professions — whether to be a
lawyer, a physician, a preacher, an
editor, or a writing teacher — he is
not quite sure but he would do ex-
actly as he did years ago, when the
business was less inviting than it is
now — take his chances in the less
crowded ranks of penmanship.
There are very few penmen who have been for any
length of time in the business, who are not in good
circumstances ; some of them are wealthy. We hear
once in a while of some impecunious fellow travelling
about and living precariously ; but this is the excep-
tion, not the rule. The writing teacher, of all men,
ought to be whole and sound. If lame, deaf or blind,
he would do better even in theology or medicine,
than here ; in this field the odds are against him.

So much for the profession, as such. Now what is
needed to follow it ? First,

THOROUGH PREPARATION.

Let no young man go into any profession without
a special education for it ! The curse of this free
country, more than anything else — except politics —
is quackery. There are quacks in medicine, as we
all know ; but they are not by any means the only
quacks. We shall find them in the pulpit — lots of

them ; in the machine shop ; at the shoemaker's
bench. We shall find them among the lawyers, the
artists, the editors, and among barbers. No matter
where we go, we can be experimented upon by a
quack.

The important thing, then, is to understand your
business, and to understand it well.

SPECIMENS.

The public judge of a writing master's ability, in a
great degree, by the specimens of his work which he
exhibits. These should be of the best character, well
framed, and put up in good places ; and by good
places we mean not always the most public, but the
most respectable, as well. Put specimens in the post
office, depots, hotels, and other buildings where peo-
ple are constantly coming and going.

GOOD CLOTHES.
" For the apparel oft proclaims the man,"

is just as true to-day as when it was written. As a
people, we don't take much stock in rags or dirt. We
like good clothes and clean faces. We are willing to
follow a well dressed fraud, but we won't tag along
after even a philosopher, if he look seedy and dis-
reputable.

Wear decent clothes, cut fashionably ; be modest
in your jewelry — a watch and chain and a plain ring,
are about the limit for a gentleman — and keep your-
self brushed up and respectable.

GOOD COMPANY.

Not only respectable apparel; but respectable com-
pany is indispensable. Keep good company or none.
Don't be found hugging the stove of some saloon,
associating with horse jockeys and ignoramuses. Go
to church, and cultivate the society of church-going
folks. The great mass of the American people belong

126

TEACHING PENMANSHIP.

to the church-going class, and this is the only class
the teacher can rely upon for support. It is possi-
ble that we have some intellectual giants, who tower
above the influence of the churches, but such men
are not at all numerous ; and they are generally as
much above the writing master as they are above
the church. ADVERTISING.

In this day no sleepy man can awaken much en-
thusiasm. He must be wide awake himself, if he
would have others so ; and he must advertise. Yes,
my boy, even the writing teacher must advertise.
Insert a card in the papers, and have the editors no-
tice the school editorially, and print and distribute a
neat circular, giving the terms and full particulars ;
also the opinions of those who have patronized you,
and of the press in other places.

MATERIALS AND IMPLEMENTS.

The very first requisite for teacher and pupils is
good writing ma-
terials — good
paper, good pens
and good ink.
Let everything The Oblique

be good.

A great deal depends upon the pen — much more
than some writing teachers care to acknowledge.
This should be fine pointed and durable. The best
writers in this country are now using what is called
the oblique pen holder ; the object of which is to
give the pen a better position for smooth shades, and
to enable the penman to see every stroke as he makes
it. With the ordinary straight holder the pen is gen-
erally " in the way." We have no hesitation in say-
ing here that this is the best pen holder as yet
produced, and as it is fast becoming the one for gen-
eral use, we have noticed it in this place, so as to
correct a very common fault in using it. The pen
must be so adjusted in the holder that the point will
be on an exact line with the centre of the stick. (See
the cut.) Run the eye down the holder, and exer-
cise care in this matter. Otherwise, the pen point is
"off its base," writes rough and uneven, and the
writer lays the fault to his "miserable steel pens."
This pen holder is not designed for ornamental work.
For that purpose a short straight one should be used.

INKS.

Good Harry Dean wrote, eighty years ago — and
things haven't changed much since then — about this
essential, thus :

Ink has not only been useful in all ages, but still
continues absolutely necessary to the preservation
and improvement of every art and science, and for
conducting the ordinary transactions of life. Simple
as the composition of ink may be thought, and really
is, it is a fact well known, that we have at present,
none equal in beauty and colour to that used in Eng-
land in the time of the Saxons. It is an object of
the utmost importance that the decisions and the ad-
judications of the courts of justice, conveyances from
man to man, wills, testaments, and other instruments,
which affect property, should be written with ink of
such durable quality as may best resist the destruc-
tive powers of time and the elements. The necessity
of paying greater attention to this matter may be
readily seen by comparing the rolls and records, that
have been written from the fifteenth century to the
end of the seventeenth, with the writings we have
remaining of various ages from the fifth to the twelfth
centuries. Notwithstanding the superior antiquity

of the latter, they
are in excellent
preservation ;
but we frequent-
ly find the for-
mer, though of
more modern
date, so much defaced that they are scarcely legible.
Inks are of various sorts, as encaustic or varnish,
Indian ink, gold and silver, purple, black, red, green,
and various other colours : there are also secret and
sympathetic inks. Golden ink was used by various
nations, as may be seen in several libraries, and in
the archives of churches. Silver ink was also com-
mon in most countries. Red ink, made of vermil-
lion, cinnabar or purple, is very frequently found in
MSS. but none are found written entirely with ink of
that colour. Blue or yellow ink was seldom used
but in MSS. The yellow has not been in use, as far
as we can learn, for six hundred years. Pale ink
very rarely occurs before the last four centuries.

RECEIPT TO MAKE EXCELLENT BLACK INK.

For 3 pints. 3 oz. Aleppo galls,
3 oz. copperas,
1 oz. gum arabic ;
boil 6 ounces logwood, strain it through a cloth, and
mix the whole.

The ink will be better if the galls are steeped sev-
eral days first, the copperas, etc., added afterwards.

"Pale ink," he says, "very rarely occurs before
the last four centuries." The older the world gets,

Pen Holder.

*.£.
p

TEACHING PENMANSHIP.

127

the paler and poorer the ink ! If Harry were alive
to-day, we could show him such ink as he never
dreamed of — it is so much worse than that of 1800 ;
and it is used in writing schools and business colleges,
and by penmen all over the country. They don't
complain very much of it, because they think a really
good ink cannot be obtained.

Almost everybody admires a rich, black, easy flow-
ing ink. Good ink has much to do with the appear-
ance of handwriting, as well as ornamental work,
and the best ink, other qualities being equal, is that
which flows freest. Thick, sticky ink should never
be used ; for while the color may be all right, it is im-
possible to write well with it. We have used the old
fashioned ink which Dean prescribes, and can recom-
mend it. It is of good color, and flows freely.

The following also makes a good writing ink :

Water, 7 gallons,

Bruised galls, 2 pounds,

Logwood chips, green copperas and gum, of each,
1 pound.

Boil two hours and strain.

Product, 5 gallons.

RECIPE FOR MAKING COMMON BLACK INK.

(Ink that is black when first written with.)
To 1 gallon of boiling soft water, add f of an ounce
of extract of logwood. Boil two minutes ; remove
from the fire, and stir in 48 grains of bichromate of
potash and 8 grains of prussiate of potash. Then
stir.

For 10 gallons, use 6\ ounces of logwood extract,
1 ounce bichromate of potash and 80 grains of
prussiate of potash.

BLACK COPYING INK, OR WRITING FLUID.

Take 2 gallons of rain water and put into it \
pound of gum arabic, \ pound brown sugar, \ pound
clean copperas, f pound powdered nut galls, mix
and shake occasionally for ten days, and then strain ;
if needed sooner, let it stand in an iron kettle until
the strength is obtained.

This ink will stand the action of the air for cen-
turies, if required.

RED INK.

In an ounce phial, put 1 teaspoonful of aqua
ammonia, gum arabic size of two or three peas, and 6
grains of No. 40 carmine ; fill up with soft water,
and it is soon ready for use.

GREEN INK.

Cream of tartar, 1 part ; verdigris, 2 parts ; water,
8 parts. Boil till reduced to the proper color.

VIOLET INK.

A good violet ink is made by dissolving some vio-
let aniline in water to which some alcohol has been
added ; it takes very little aniline to make a large
quantity of the ink.

GOLD INK.

Mosaic gold, 2 parts, and gum arabic, 1 part ;
ground up to a proper condition for using.

SILVER INK.

Triturate in a mortar equal parts of silver foil and
sulphate of potassa, until reduced to fine powder ;
then wash the salt out and mix the residue with a
mucilage of equal parts of gum arabic water.

INDELIBLE STENCIL PLATE INK.

One pound precipitate carbonate of iron, 1 pound
sulphate of iron, i\ pounds acetic acid ; stir over a
fire until they combine ; then add 3 pounds printers'
varnish, and 2 pounds fine book ink, and stir until
well mixed. Add 1 pound Ethiop's mineral.

EXCHEQUER INK.

Bruised galls, 40 pounds ; gum, 10 pounds ; green
sulphate of iron, 9 pounds ; soft water, 45 gallons ;
macerate for three weeks, with frequent agitation.
Then strain and bottle.

This ink will endure for ages, and is one of the
best inks ever produced.

ASIATIC INKS.

Bruised galls, 14 pounds ; gum, 5 pounds. Put
them in a small cask, and add of boiling soft water,
15 gallons. Allow the whole to macerate, with fre-
quent agitation, for two weeks, then further add green
copperas, 5 pounds, dissolved in 7 pints of water.
Again mix well, and agitate the whole daily for two
or three weeks.

BROWN INK.

A strong decoction of catechu. The shade may
be varied by the cautious addition of a little weak
solution of bichromate of potash.

INDELIBLE INK.

Nitrate of silver, \ ounce ; water, f ounce. Dis-
solve, add as much of the strongest liquor of am-
monia as will dissolve the precipitate formed on its

-- 9

2 8

TKACHINC; PENMANSHIP.

first addition ; then add of mucilage, ii drachms, and
a little sap green, syrup of buckthorn, or finely pow-
dered indigo, to color.

Turns black on being held near the fire, or touched
with a hot flat iron.

INDELIBLE INK KOR GLASS OR METAL.

Borax, i ounce ; shellac, 2 ounces ; water, 18 fluid
ounces. Boil in a covered vessel ; add of thick mu-
cilage, 1 ounce; triturate it with levigated indigo
and lampblack, q. s. to give it a good color. After
two hours' repose, decant from the dregs and bottle
for use.

It may be bronzed after being applied. This ink
resists moisture, chlorine and acids.

POSITION OF THE HANI).

All the best penmen throughout America, as well
as England, are now agreed respecting one thing at
least — the proper position of the hand and pen for
ordinary writing ; though some differ as to the best
for flourishing.

The cut on this page illustrates this position very
accurately. The first finger is brought down to the
lower part of the holder near the pen ; the second
finger, at the side of the holder, drops below about
the length of the nail ; and the thumb presses the
holder an inch or so above. The last two fingers
fold under the hand, and rest upon the nails. This
secures a perfect movable rest, by which, if all parts
of the hand move together as one, without any

Corrfxt Position of Hand and Pen.

F> OSITIOUNT.

HOW TO SIT.

The position at the table or desk should be easy,
natural, and upright. On this point Comer says:
" To stand at the desk in a lounging position, or to sit
with both elbow s spread out, and the body bent forward
so as to bring the chin near the surface of the table,
are postures so censurable, and at the same time so
discouraging to a teacher, that no excuse but ignor-
aii( e and bad breeding should be accepted for indulg-
ing in them. They are habits most unpleasant to the
observer, and in every respei t injurious to the writer."

Insist upon a good upright position, either the
front, or the left, or right side.

separate action of the fingers, we are enabled to
secure rapidity, ease and grace of execution. The
chief difficulty teachers have to contend with, is
the disposition on the part of the learner to use
his fingers either under the hand or those holding
the pen, or both, independently of the others,
which produces in all cases a labored and auk-
ward style of handwriting. The wrist is kept
up sufficiently to be free from the paper, desk or
table.

Years ago the pupil was taught to keep the
second finger straight — and stiff — alongside of the
pen holder, instead of curving it up, and letting the
nail portion drop below ; and some old fashioned
country teachers still adhere to this position. It is

TEACHING PENMANSHIP.

129

impossible to produce an easy style by writing in
that way.

The pen holder should be held at a slope of at
least forty-five degrees. Many people hold the pen
so straight up and down — or putting it more correctly
— so near the perpendicular, as to make it next to
impossible to write without spattering the paper with
ink. The poorest writers, as a rule, are found to
hold the pen holder too high, while none hold it too
low.

Teachers cannot take too much pains at the start
to enforce compliance with these instructions as to
pen holding ; for without a correct position, all the
elegant or inelegant copies and other instruction, will
amount to but little, if indeed they do any good at all.
On the other hand, the pupil may be very backward
in writing, and by setting himself to work in a good
position at once, will soon
outstrip those who begin
with a fair handwriting,
but an incorrect position,
and yet make no effort to
change the latter.

Position i s everything.
The good teacher is con-
stantly talking about its im-
portance, and enforcing* it.
It gives power, and is the
one indispensable qualifica-
tion. Other things may be
passed over, but the correct
position must be acquired at the outset,
done, the rest is easy ; without it, impossible.

All the works of the present time of value for
self instruction, or for teachers, give full directions
for pen holding ; yet we notice that most of these in-
structions are so obscure, as well as tediously lengthy,
that few are benefited by them. Instead of reading
them carefully, then comprehending the writer's
ideas, and putting them at once in operation, the
rules are scanned until the reader becomes discour-
aged. He turns away from them to resume his old
position, which no doubt is backed by as much real
good sense as the teacher's long winded explanations.

THE RESTS.

The hand, then, rests upon the nails of the last
two fingers. The wrist is free. There is, besides

this, the muscular rest, where the arm, near the elbow,
on the fleshy muscular part, settles down upon the
table or desk. This is the only rest of the arm.
Forward of this arm rest, there is a free action for

THE MUSCULAR MOVEMENT.

This movement, so much to be desired by all who
wish to write rapidly and easily, comes from an un-
restricted play of both the hand and forearm, to-
gether with the fingers, all moving together as one,
striking out with the regularity of the pendulum of
a clock. The best way to develop the muscular
movement is to require its use by all in school, and
to leave out all finger movement practice. Give easy
movement exercises, such as the capital ovals, and
long lateral curves of the first and second principles
connected with short, straight down-strokes, sloping

at a uniform angle. Thus, a
repetition of the letter i or
the m makes an excellent
exercise of this character.
Another good one is the
small 0, connected with sim-
ple concave curves one inch
long, the copy to extend
across the page, and without
once raising the pen.

Incorrect Position of Hand.

That

ANALYSIS.

Every good teacher fol-
lows some system of analy-
sis whereby his scholars are enabled to readily learn
the forms of the letters, both large and small. There
is no end to the different so-called systems for this
purpose. We have, for common schools, the Payson,
Dunton & Scribner, the Spencerian, Potter & Ham-
mond's, and a great many others, each with a care-
fully worked-out analysis, and full and explicit di-
rections ; but each seems to lack one very desirable
quality — simplicity. The authors of these copy books
seem to resemble somewhat a gentleman the writer
knew, who wrote a newspaper article in the plainest
hand he could command ; but when it appeared in
print it was full of typographical errors. " The next
time," said he, "they will treat my manuscript with
some respect ! " His future contributions were writ-
ten in the worst Horace Greeley and Rufus Choate
hieroglyphics ; so badly indeed that the compositor

»V

x3°

TEACHING PKNMANSIII1'.

was put to his wits' end to decipher them, going
the rounds of the office and consulting everybody,
from the managing editor to the printers' devil, as
he could catch them ; and the result was a perfectly
correct proof. " That is the only way to secure
good treatment from a printer," said our friend.
Perhaps the only way to secure the respect of learn-
ers is to give them a complicated and difficult analy-
sis ; but we don't believe it. Time is too valuable,
and life too short, to waste them over rubbish.

The simplest and best analysis of letters ever given
to the world is John D. Williams'. We don't know
that Williams was really the inventor or discoverer
of this analysis, yet, as we have never seen it any-
where else, and never heard of it before his day, there
can be little doubt of it. This analysis is given at
length in Williams & Packard's Guide, published by
Lee & Shepard, Boston ; also in Gaskell's Compen-
dium of Penmanship and Gaskell's Compendium of
Forms. We here reproduce simply the outlines of
this system of teaching ; the writing master can fill
in to suit himself, or follow either of the above works
for what he may lack :

PRINCIPLES AND PARTS OF LETTERS.

The following elementary lines constitute the basis
of writing. They are called

THE FIVE PRINCIPLES '.

The first four are usually made — especially in the
small letters — with the upward, and the last with the
downward motion of the pen.

. The order of their arrangement is a matter of
some importance, as indicating the natural order
of development in training the hand. A curve is
more easily made than a straight line ; and so, also,
is the convex curve, or that which moves outward
from the centre of motion, more easily made than the
coticave curve, which moves inward toward the centre

of motion, causing a contraction of the fingers. The
terms convex and concave are used as expressive of
the relative position of these curves from the common
visual point.

The various combinations of which these element-
ary principles are susceptible are shown in the fol-
lowing examples :

PARTS OF CONTRACTED LETTERS.

PARTS OF EXTENDED LETTERS

PARTS OF CAPITALS

These principles, when applied to letters, are care-
fully regulated as to height, slant and position. The
slant of writing is regulated by the ordinary down
strokes, and is established (Williams says, though
others say fifty-two) at thirty-eight degrees from the
perpendicular. There is no other authority for this
exact inclination, except the usage of the best busi-
ness writers. It is also very clearly ascertained that
this degree of slant secures the best combination of
speed and legibility, both of which are essential quali-
ties. The slant of the curved lines, especially those
formed with the upward movement, cannot be so
definitely prescribed, from the fact that it must de-
pend wholly upon the height and distance apart of
the down strokes, which they connect.

The teacher's strong point will lie in thoroughly
inculcating the five principles, which should ordinarily
be distinguished by their numerals. The combina-
tions will be easily fixed in the mind and thoroughly

J^c

TEACHING PENMANSHIP.

131

established by practice. Although for the most part
the principles occupy the position given them in the
schedule, and are formed, the curves moving upward
and the straight stroke downward, this is not an in-
flexible rule, as their designation is fixed by their
form rather than their position, or the direction of
the movement which may have produced them.
Thus, a curve which from the natural point of vision
shows the rounding or convex surface, is known
as the first principle ; a curve which shows the
hollow or concave surface, is the second principle ; a
combination of the two with the cojivex at the
bottom and the concave at the top is the third
principle ; the reverse of this the fourth principle ;
and the straight line, in whatever position, the fifth
principle.

A teacher who has these simple facts well grounded
in the minds of his pupils has obtained a leverage
which can be used with astonishing results.

The advantage of adopting as the principles of
writing simple lines, instead of combinations and
complete letters, will be obvious to any thoughtful
teacher ; for not only can they be more readily and
certainly acquired and retained by the pupil, but
their constant recurrence and ready adjustment to
practical ends place the student so squarely and un-
derstandingly in the line of advancement, that prog-
ress is a natural result.

The principles once clearly fixed in the mind, their
combinations into parts of letters, and thence into
the letters complete, are easily enforced.

CLASS INSTRUCTION.

Williams further says : The time given to class
instruction in writing, in schools where it is not
taught as a specialty, is usually from a half to three
fourths of an hour to each lesson, with from two to
five lessons per week. It is scarcely necessary to say
that five lessons a week are preferable to less, even if
the time for each lesson has to be shortened. A half
hour's class drill, if no time is wasted, even if but three
times a week, may be made productive of very grati-
fying results. When it is possible to do so, the writing
hour should be fixed in the early part of the day, or
before the pupil is worn out with application to study.

The use of engraved copies and printed instruction
has made it not only possible, but feasible, for any
intelligent and faithful teacher to conduct the writing
exercises with good success. Of course, in this, as in
any study, the more conversant a teacher is with his
subject, its applications and unfoldings, the better
It will be of great service to him to be able to exem-
plify the lessons upon the blackboard, and especially
to point out characteristic faults.

It is of the first importance that the class should be
utterly under the teacher's control, and that every-
thing should be done promptly and in order. This
will necessitate movements in concert by proper sig-
nals. We shall not take up space in prescribing the
methods of getting the classes in proper position for
work, as it is presumed that the teacher is sufficiently
master of his business to accomplish this task with-
out special directions.

•V'

TEACHING PENMANSHIP.

133

Rapid Blackboard Writing of To-day. By L. Madarasz

spy

OPP-rfflKBl

%*'

/ i

iFhotiFflgHlrtf

FF-HAND FLOURISHING

consists of pure simple and
compound curves, and some-
times straight lines, made
with a peculiar arm movement
and with a reversed position
4_aOv2 of the pen. It is used mainly
for the embellishment of old English
and German text in engrossing, and in
various ornamental designs common
among penmen. It originated among
the Arabians or Moors.

The pen is held as shown in the cut
at the head of this chapter. The flour-
ishes, which represent the figures of
men, angels and beasts, were much ad-
mired in the sixteenth and seventeenth centuries ; but
more easy and natural, if not more artistic, work has
taken their place.

What more beautiful thing can be conceived than
the masterly strokes of a skilled writer's pen forming
the outlines of a bird, nestled amid the branches of
a tree : or describing the arched neck and graceful
poise of the swan, sailing its reedy lake ? It is impos-
sible to surpass these little pictures with the brush
or graver. They will stand through all time among
other first-class art creations.

Without the penman's art — or what is the same
thing, the simulation of the penman's art by the artist
and engraver — steel engraving and lithography, in
some of their most important phases, would soon
tumble to the common level of wood-cut art as
practised in its best condition. The elaborate
and graceful pen sketches or imitations keep it
above wood-cut engraving, no matter how good the
latter may be.

In 1804, Deane wrote of flourishing :

The ornamental part of penmanship has been ex-
ploded by some, because of no immediate use in
business, or rather through ignorance and want of
capacity to do anything agreeably that way ; yet
ornament is allowable in this as well as in any other
art or science, and it adds a beautiful variety to a
curious piece of writing, when directed by a solid
judgment, and fruitful fancy. Ornament consists of
two parts ; the inventing and composing of proper
strokes, as in the German text, capitals, knots and
various figures of birds and beasts, etc. The other
is the performing of flourishes and letters by a quick
motion, which is called striking, or command of hand.
Often observe what has been done by the best mas-
ters. Let not ornament obscure writing, but let it be
easy and natural ; not full of strokes in some parts,
and in others empty and bald. Let the strokes turn
and play over one another, with as much variety and
wantonness as possible, not running too much upon
the spiral or parallel ; let not two dark strokes cross,
but let them answer one another, and lie all the same
way, like the shades in a picture. Let not curve
strokes cross one another in the same point, and en-
deavor to make a few strokes well placed, rather
than a crowd without order or beauty. In flourish-
ing and striking, perform all the strokes with a swift,
but sure motion, in the most natural and easy man-
ner, with the same fulls and smalls as the pen makes
them, without any after touches. The pen must not
be turned in making the strokes, nor the wrist bended,
but the arm and hand swing gently together, no part
of them resting on, or touching the paper. Flour-
ishes, etc., about those pieces that are wrote in com-
mon business, are inadmissible.

Another penman of a later day says, in The Pen-
man's Gazette ;

" No one, it appears, has ever attempted to teach
off-hand flourishing in a text-book. At least the
writer has never seen a work that was of much use
to the learner. Position and movement, which in
ordinary writing justly receive so much attention, are
wholly ignored. Forms are given, but how to go to

<s_ ^

!36

OFF-HAND FLOURISHING.

work to execute them, is an almost unsolvable mys-
tery to the pupil, who plods along by himself. There
has never been, to our knowledge, anything definite
written upon this subject."

MATERIALS FOR FLOURISHING. '

The first requisite for Flourishing, as well as for
good writing, is good materials : fine pointed, flexible
steel pens, and black ink that flows freely. The pen
holder is unlike that used in writing : it is about a
third shorter. An ordinary straight wooden holder,
one of the bulging sort, chipped off at the end, makes
a much better implement than a longer or a smaller
one. The oblique pen holder, although the best in
use for ordinary writing, is unfit for flourishing where
the position is reversed. Neither should a straight
one of the ordinary length be used ; it weakens the
hand for busi-

<§>-
ness writing,

and is much

more difficult

to manage than

a shorter one.

POSITION.

Right side or
front. See the
cut of position.
In making
short curves
and straight
lines, where the finger rest will not interfere with
fresh shades, let the small finger touch the paper.
This affords greater accuracy for exact work.

MOVF.MF.NTS.

The most important rule for flourishing is this :
Make every stroke, whether a curve or a straight line,
from left TO right, using the whole arm, whether
with the finger rest or 7uithont it. It is impossible
otherwise to produce good work. Shift the paper
about, to suit the direction of the strokes. A rapid
ornamental penman will keep the sheet constantly
moving about, to receive from one point all the sweeps
of his pen.

f.xercises.

Practice first on easy movement exercises ; then
on outlines of figures ; and, lastly, on the whole pic-
ture. We give in this book, not the set flourishes of
any one penman, but the best from all ; so that the ex-
ercises will afford a wide scope for what talent, native
or acquired, the pupil may have in this direction.

GERMAN TEXT AND OLD ENGLISH.

German text and old English admit more orna-
mentation in the way of flourishes, than any other
lettering, and are as rich and appropriate for most
ornamental pieces, as anything that can be done.
The learner should take the greatest pains in arrang-
ing the letters, that the spacing may be uniform, as
well as that the same uniformity may regulate the
size and slope. As a guide, he should rule pencil

marks, both

Flourish by Comer. 1869.

<§>

horizontal and
vertical. After
the flourishing
about the
words is done,
these marks
may be easily
erased with a
soft rubber,
without dis-
turbing the ink
lines.

Both Ger-
man text and old English may be written with one
stroke of the quill, and the main strokes afterward
sharpened and otherwise improved, with an ordi-
nary steel pen. The best pen is a broad nibbed
quill (most penmen prefer that of the turkey, soft-
ened by holding it either in the mouth or in warm
water, before making the pen). The nib of the pen
is made broad, to correspond with the width of the
main down-strokes. In beginning and closing the
strokes, the pen is turned, when it is necessary to
sharpen them at the top and bottom. A little prac-
tice enables any one to become quite proficient in
this style of lettering. Some of the finest alphabets
of this kind ever published are given in this book.

£.

OFF-HAND FLOURISHING.

139

Photographic Copy of a Page in Dean's Analytic Guide, 1805.

?>pv

£,

£>

Now TO

fNOTO-

PECIM

NQFAVING .

Y means of the photo-engrav-
ing process, invented by Mr.
Moss, of this city (New York),
pieces of penmanship, if prop-
erly prepared, may be repro-
duced exactly in every line
and part, and at less cost than
by the old method of cutting
the same in wood.
The main thing to keep in mind is that
every line in the work to be engraved
must be done with ink that is black.
The lines cannot be of a bluish tint, or
grayish, or brown ; they must be black —
perfectly black. See that the India ink
used is of that color.

DRAWING PAPER.

To insure the best results with the
pen, a highly finished, smooth and white
surface is necessary. Of course it is possible to
make artistic designs upon poor paper, such as the
finer qualities of unruled writing paper ; but for this
purpose it is safer to use always the best materials :
the best ink, paper and pens which can be procured.
Economy in materials is here the most false econ-
omy, as it is likely to cause a loss of time, especially
on the part of the engravers and finishers, and the
final result may not be so satisfactory.

Use good Bristol Board, the finest grade if you
can get it. For some kinds of work the " B. D."
(Ben Day) Double Enamelled Scratch and Drawing
Board serves an excellent purpose, as the darker
masses may be laid on with a brush and lightened
afterward by white lines, which are produced by

scratching through the ink and enamel with a steel
point. For use upon this paper, the ink will be im-
proved by adding to it a small quantity of glycerine.

By a careful and dexterous artist, the drawings
made with the crayon point upon this prepared paper
will have the appearance of the best stipple work,
and serve the same practical end in reproduction by
photo-engraving. These drawings may be produced
with great facility, and for landscapes not requiring
an over refinement of detail, the effect is most pleas-
ing.

Any paper with a rough surface, such as, for in-
stance, Whitman's, which is so generally used by
penmen for large specimens for exhibition, should be
condemned as useless for this purpose.

THE BEST INK.

As we have said, it is important that the ink be
perfectly black ; and not only black, but it must be
free from gloss. A brilliant engraving, with sharp,
regular lines, cannot be expected from a feeble draw-
ing, done with pale ink on rough paper. Pale black
or yellow-brown or bluish lines will inevitably come
out weak, broken or ragged in the engraved plate.
The ink must be of the same degree of blackness
throughout the piece. Gradations in shades are pro-
duced by widening or narrowing the spaces between
the lines, and by heavier or lighter strokes.

Nothing can be simpler than it is for any good
penman to make good copy for the engraver by
this process, if the ink be perfectly black. Take an
ordinary ink saucer containing from a half teaspoon-
ful upward of clean water. Into this the India ink
cake should be rubbed until the fluid is of a proper
consistency, which may be determined by tilting
the saucer slightly and observing carefully the sedi-

r- ^

154

HOW TO PREPARK SPECIMENS FOR PHOTO-ENGRAVING.

ment which remains after removing it. If enough of
the inky substance remains upon the side entirely to
obscure the color of the vessel, even when blown
upon with some force, it is sufficiently thick for use ;
but care should be taken to avoid getting it; so thick
that it will clog the pen, or refuse to run freely. The
ink may be improved by adding to it, when thick, a
few drops of prepared ox-gall.

SIZES OK DRAWINd.

Drawings should always be made considerably
larger than the plate to be engraved. For the more
sketchy styles of work, one third larger will answer,
and for comic sketches in particular, drawings of the
same size as the desired engraving will sometimes do.
But for all careful and finished work — for the very
best engraving — the drawing should never be less
than twice the length and twice the breadth of the
desired plate.

WHITE LINES.

A great saving of time is accomplished by at first
laying in the darker masses perfectly black writh pen
or brush, and afterward getting the gradations by-
drawing in white lines with the pen, using invariably
Winsor & Newton's best flake-white.

Never go over a line the second time until the first
is perfectly dry.

THINGS TO HE REMEMBERED.

Care upon the following points will save both your-
self and the engravers of your work, much annoyance
and even embarrassment :

1. Never make drawings in reverse.

2. Always make sets of drawings to the same
scale, wherever it can be done.

3. Never cross-hatch, or reinforce a line, or lighten
with white, until the lines previously drawn are per-
fectly dry.

4. Take care to leave no pencil marks, or any lines,
dots or blotches that are not to come out in the plate;
but in removing any of these, be careful not to dis-
turb any of the lines of the drawing.

5. Have a blotting pad always under the hand.
This will keep your copy clean ; but it should never
be used to take up ink from your drawing.

6. In every case do not fail to leave a margin of at
least half an inch around the drawing, so that it may
be tacked to the camera board without injury.

These directions are the same as sent out to their
customers by the various photo-engraving companies
of this city, and are therefore the very best that can
be given, and from the best possible source.

•V«

6i r

£_

(?\\\mn'

F ALL MEN, penmen are
the ones who are expected to
write good business letters.
As a rule, it is best to banish
all thought of elegance or or-
nament, to aim only at ex-
pressing yourself clearly and
The best ornament is that
which comes of itself — unsought. Do
not beat around the bush with super-
fluous words, but go straight to the
point. What is written is meant to be
read ; time is short ; and other things
being equal, the fewer words the bet-
ter, both for the writer and the reader.
But repetition is a far lesser fault
than obscurity. Don't be afraid of repeating the
same word if it expresses the idea better than any
other. Put it down twice, or a dozen times if neces-
sary, rather than to be misunderstood. A frank
repetition of a word has, sometimes, a sort of charm,
as bearing the stamp of truth, which is really the
foundation of all elegance of style. All vulgar ex-
pressions, and generally those intended for wit, should
be expunged ; for

" Wit's an unruly engine, wildly striking,

Sometimes a friend, sometimes the engineer ;
Hast thou the knack ? pamper it not with liking ;

But if thou want it, buy it not too dear.
Many affecting wit beyond their power
Have got to be a dear fool for an hour."

There are some rules for business letter writing
which cannot be disregarded :

First. Letter or note size paper should be used,
not foolscap.

Second. Black ink ; not red, green nor any other
fancy color.

Third. The handwriting should be plain and neat,
with no effort at display.

Fourth. The wording should be clear and concise.

It is presumed that everyone knows the form of a
correctly arranged business letter ; the place for the
heading, the complimentary address, the body of the
letter and the closing ; that all paragraphs should be-
gin at the same distance from the margin, one under-
neath the other ; that the handwriting throughout
should be uniform as respects size and slcpe ; and
that there should be no blots or erasures. These are
little things ; but if they are not observed, the letter
will not look right, even if written in the most ap-
propriate language, and it be otherwise correct.

T ITT_iT£]S

HIS EXCELLENCY.

The usual style of addressing the President is,
His Excellency the President of the United- States;
or, His Excellency the President.

For the Vice President, His Excellency the Vice
President of the United States ; or, His Excellency
the Vice President.

The same title is also applied to Embassadors
and Foreign Ministers, and to the Governors of the
States.

HONORABLE.

In a republic like the United States few titles are
used, and these few are much abused, if we accept
their literal meaning according to Webster. A great
many of our public men should be addressed as
Honorable, as Hon. William Jones. Honorable is
denned as " Worthy of honor, fit to be esteemed or
regarded estimable ; illustrious."

^>rV

ieL

156

BUSINESS LETTER WRITING.

Wordsworth says :

" Say what is honor ? 'Tis the finest sense
Of justice which the human mind can frame ;
Intent each lurking frailty to disclaim,
And guard the way of life from all offense
Suffered or done."

In this country this title is applied to all parties
elected to public positions — Judges of the Superior
Court, the heads of government departments, Sena-
tors, Congressmen, Deputy Governors, Assemblymen,
etc., and is given collectively, as The Honorable
Board of Education, The Honorable Commissioners
of Public Parks, The Honorable Board of Aldermen,
etc., etc.

esquire — "esq."

A title of magistrates, counsellors at law, collec-
tors and other public officers.

MISTER-

MR.

A title of respect ; may be applied to all men.

MASTER.

A boy.

MADAME.

Given chiefly to "named or elderly ladies.

MISTRESS "MRS."

The female head of a family.

MISS.
The title of a young or unmarried woman.

PROFESSOR " PROF."

Is applied to teachers in the universities and col-
leges.

REVEREND " REV."

To clergymen ; doctors of divinity are addressed
thus : Rev. Dr. Brown, or Rev. J. P. Brown, D. D.

Military, naval officers and others receive the title
belonging to their rank.

A common fault with many in business, is the
omission of seemingly unimportant words, by which
the writer imagines that speed is gained. He drops
his by, of, the, an, for, &c. ; contracts and abbreviates
so much that his communication reads more like a
telegraphic message from the battle field, or the State
lunatic asylum, than it does like a business letter
from a well balanced mind.

The following is an example of that kind of a
letter :

41 Wall St., N. Y., Nov. 21, '83.
Mr. B. J. Smithers,
91 Lex. Av.
Sir: Am receipt of yrs. 21. Reply would saj :
Am perfectly willing to go into arrangement buy and
sell stocks you suggest ; but should want margin at
least four per cent, guar'teed, cover possible losses,
and trouble. Satisfactory write.

Yrs.

Sam'l Browne, Jr.

He means this :

41 Wall St.,

New York, Nov. 21, 1883.
Mr. B. J. Smithers,

91 Lexington Ave.
Sir : I am in receipt of yours of the 21st. In reply
would say : I am perfectly willing to go into the ar-
rangement you suggest — to buy and sell stocks ; but
should want a margin of at least four per cent, guar-
anteed, to cover possible losses and for trouble.
If this is satisfactory, would be glad to hear further

from you.

Yours,

Sam'l Browne, Jr.

This letter— which is authentic — written by one of
the signers of the Declaration of Independence, is
marred by the unnecessary abbreviation of ordinary
words, and the improper use of capitals :

STEPHEN HOPKINS TO THE GOVERNOR OK
CONNECTICUT.

Providence, August 2, 1755.
Sir : This moment I ree'd a letter from Gov'r De-
lancey enclosing the Copy of one from Capt. Orme,
giving an account of the Defeat and Death of Gen'l
Braddock and many of his Officers and men. This
is an event of so much consequence to all the Colo-
nys, that I thought it my Duty to send it to you, by
Express, not knowing you would receive it from any
other quarter. I shall immediately call our Gen'l
Assembly together, and recommend to them in the
strongest manner, the doing every thing within their
Power toward repairing this unhappy Loss and pre-
venting any other of the same Nature. What method
will be thought most effectual by the Colonys for

BUSINESS LETTER WRITING.

r57

such a purpose I cannot yet tell, but am in hopes all
will exert themselves to their utmost. I am Sorrow-
fully at present, Your Hon'rs most Obed't and Most
Humble Servt. Step. Hopkins.

To His Excellency Governor of Connecticut.

We give here a few letters on a variety of subjects.
The best way to acquire correctness in letter writing
is by studying good models, and becoming familiar
with correct modes of expression.

FROM A STOREKEEPER (DESIRING TO OPEN AN
ACCOUNT) TO A WHOLESALE HOUSE.

Elizabeth, N. J., Jan. i, 1883.
Messrs. Thurber & Co.,

West Broadway and Chambers St., N. Y.
Sirs : Mr. Andrews, of this city, who has dealt with
you a long time, recommends your house so strongly
that I am disposed to make a trial of your goods.
On this recommendation I enclose a list of the things
I at present require, and will thank you to give the
prices against the articles enumerated.

Be good enough also to let me know the terms of
payment. I would refer you to Andrews ; also to
Browing & Peck. Yours truly,

Benjamin Lindsley.

answer to the preceding.

West Broadway and Chambers St.,

New York, Jan. 2, 1883.

Mr. Benjamin Lindsley,

Elizabeth, N. J.

Sir : In answer to yours of yesterday, we enclose

the prices of the goods you inquire about. We have

written to Mr. Andrews respecting your reliability,

and if his answer is satisfactory, we can give you

three months, or a discount of 5 per cent, for cash.

Hoping to receive your orders, we are

Yours,

Thurber & Co.

refusal to execute an order.

Baltimore, Md., Jan. 4, 1883.
Mr. Howard Peck,

Cressley's Four Corners, Md.
Sir : In reply to your favor of the 3d, we beg to
say that we must ask you to remit the cash before
filling your order.

We trust you will not think us unnecessarily harsh ;
but we know nothing of you, and the profit on the
goods is very small. Possibly we may become better
acquainted in the future, when we could promptly
meet your wishes.

We are,

Yours truly,

John D. Williams & Co.

APPLICATION FOR AN AGENCY.

Manchester, N. H., Jan. 4, 1883.
Messrs. A. T. Stewart & Co.,
N. Y.
Sirs : Having heard that you desire to establish an
agency in this city for the sale of woollens, I take
the liberty to write you. I have lived here for the
past fifteen years, have a large acquaintance and can
command patronage. Can give you the best refer-
ences as to integrity and business capacity. Let me
hear from you, and I will send on the references at

once.

I am, gentlemen,

Yours respectfully,

William Heron, Jr.

requesting information respecting the char-
acter and reliability of a firm.

Newark, N. J., Nov. 9, 1883.
Mr. Platt R. Eastman,

86 Superior Street, Cleveland, Ohio.

Dear Sir : Messrs. Ingham, Clarke & Co., of
your city, have made certain offers to me which
promise advantage, provided they are stable ; but
which, on the contrary, would involve me in heavy
responsibilities if my correspondents failed to meet
their engagements.

I would esteem it a great favor if you would ac-
quaint me, so far as you can, with information
respecting their character and means. You may
count upon my discretion in keeping profoundly
secret such information as you may kindly send me.

Yours,

Marcus L. Wood.

ST*

<5 ^

158

BUSINKSS LKTTKR WRITING.

ANTED— DOUBLE ENTRY BOOKKEEPER, WITH
references. Call at 9 A.M.

J. ROSENFELD, 695 Broadway.

326 West 5 8th Street,
New York, Jan. 1, 1883.

Dear Sir : In reply to the above advertisement in
this morning's Herald, I would say that I am at pres-
ent open to an engagement, and would respectfully
ask you to consider this application. For the past
three years I have been employed by Johnson, Devine
& Co., corner West Broadway and Chambers Street.
The firm has now gone out of business. Mr. John-
son may be seen at his residence, No. 480 Fourteenth
Street, and will cheerfully give you any information
you may want as respects my character and qualifi-
cations. I am anxious to get a permanent place, and
will do my best to give you perfect satisfaction.

Hoping you will give me a trial, I am,
Yours truly,

Peter E. Southwick.

|. ROSENFELD, Esq.,

695 Broadway.

A YOUNG ENGLISHMAN WANTS A SITUATION AS
clerk or bookkeeper ; 10 years' office experience ; first class
testimonials ; salary moderate. W. U., Post Office box 2601.

Simpson, Crawford & Simpson,
Sixth Avenue and 19th St.,

New York, Jan. 1, 1883.

Dear Sir : If "W. U." will call at our store, we
will see what we can do for him.

Simpson, Crawford <S: Simpson,
Per K.

FROM AN EMPLOYEE SOLICITING AN INCREASE OF

SALARY.

136 West Twenty-third St., Nov. 5, 1883.

Gentlemen : I beg to remind you that I have
now been two years in your employment without re-
ceiving an increase of salary. Meanwhile I have
served you to the best of my ability, the business of
my department has considerably increased, and I
leave it to you to determine whether the improved
trade is in any way due to my exertions ; and if so,
whether my services are worth more remuneration.

I have long delayed troubling you with this mat-
ter, hoping to hear in the first instance from you ;

but I can understand from the extent of your busi-
ness and the number of interests you have to care
for, that the claims of some individual employee
could be overlooked.

Assuring you of my best endeavors to serve you,
and thanking you for past kindnesses,

I am, yours very respectfully,

Harry M. Reeves.

FROM A YOUNG MAN WHO HAS BEEN RECOMMENDED
TO A MERCHANT.

234 Fourth St., j

Jersey City, Jan. 3, 1883. )
Sir : Having learned from Mr. T. C. Brown that
you are desirous I should write you, I hasten to
do so.

I have always wanted to get into business, and am
willing to do my very best for you, should you em-
ploy me.

My father desires me to say that he will have the
honor of presenting me to you on Monday next.
With great respect, Yours,

Charlie Scott.

W. I). Routledge, Esq., 4 Lafayette Place, N. Y.

application for a situation.

689 Bushwick Ave., )

Brooklyn, Jan. 8, 1883. )

" Merchant,"

Herald Office.

Sir : I would respectfully make application for the
situation you offer in to-day's Herald. I am twenty
years old ; have had some experience in business and
can furnish the very best references as to character.

Should you give me a trial, I will do my best to
give satisfaction and make my stay with you perma-
nent. Respectfully yours,

Wm. J. Goodman.

FROM A YOUNG MAN IN A RETAIL STORE WHO
WISHES A CHANGE.

MORRISANIA, N. Y., Jan. 5, 1883.
Sir : I have learned from Mr. Cheney, in whose
employment I have been for the last three years, that
there is a vacancy for a junior hand in your estab-

BUSINESS LETTER WRITING.

159

lishment. I have a great desire to enter the wholesale

trade, with the view of devoting myself entirely to

that branch. Mr. Cheney approves my project, — it

is with his knowledge and consent that I write you,

— and he will be happy to inform you fully as to my

character, industry and qualifications.

I am,

Yours truly,

Henry D. Miller.
David J. Crawford, Esq.

requesting information respecting another s

solvency.

Dayton, Ohio, Mar. 3, 1883.
Dear Sir : A storekeeper of your place, whose
name is written on the enclosed slip, has forwarded
me a large order for goods. Not having had any
dealings with him, and being naturally desirous of
knowing if he is trustworthy, I should esteem it a
great favor if you would give me such information as
you can respecting him. I must apologize for the
trouble I am giving you, which, however, you will
probably excuse, on account of the importance of the
affair.

I am, yours truly,

William C. Spencer.
Chas. Gaskell, Esq.,

Sandusky, Ohio.

REPLY FAVORABLE.

Sandusky, Ohio, Mar. 4, 1883.
Friend Spencer :

In reply to yours of yesterday, I am happy to in-
form you that Philip Stewart is all right. I think
you need not fear his going into bankruptcy, cheating
his creditors, or absconding. He has been in busi-
ness here for twenty years, and is known to every-
body as a reliable, good tradesman.

Yours,

Charles Gaskell.

REPLY UNFAVORABLE.

Sandusky, Ohio, Mar. 4, 1883.

Dear Sir : The person whose name you enclose

to me is, I regret to say, very unreliable. He might

possibly pay you, and again he might owe you the

account for a thousand years or so. In fact, owing

seems to be his "best hold ;" but he is a well disposed
fellow otherwise. If he had money and business
enough, everything would probably come out square.

Yours,

Charles Gaskell.

William C. Spencer, Esq.

miscellaneous letters.

The following letters are genuine, and are given as
worthy of imitation, as regards both conciseness and
elegance of style. They contain no far fetched words
or phrases, which too often mar the letters of the
young. They were written by men of the world, who
have lived long enough to know the value and beauty
of good plain Anglo-Saxon.

COMPLIANCE WITH A REQUEST.

46 East 14TH St., Union Square,

New York, Nov. 17, 1882.
G. A. Gaskell, Esq.

Dear Sir : Yours of the 14th received, and con-
tents noted. You have our permission to use what
you desire from our directions as to our fashionable
specialties — wedding and visiting cards, invitations,
etc., for your new book, and we will cheerfully receive
your favorable comments thereon in consideration
thereof.

Yours respectfully,

Dempsey & Carroll,

Art Stationers.

FROM DR. FRANKLIN TO HIS FRIEND A. B., CONTAIN-
ING USEFUL HINTS TO YOUNG TRADESMEN.

Sir : As you have desired it of me, I write the fol-
lowing hints, which have been of service to me, and
may, if observed, be so to you.

Remember that time is money. He that can earn
ten shillings a day by his labor, and goes abroad, or
sits idle one half of that day, though he spend but
sixpence during his diversion or idleness, ought not
to reckon that the only expense ; he has really spent,
or rather thrown away, five shillings besides.

Remember that credit is money. If a man let his
money lie in my hands after it is due, he gives me
the interest, or so much as I can make of it during
that time ; this amounts to a considerable sum where
the man has good and large credit, and makes good
use of it.

«n>

(2 w

1 60

BUSINESS LETTKR WRITING.

Remember that money is of a prolific generating
nature. Money can beget money, and its offspring
can beget more, and so on. Five shillings turned is
six ; turned again it is seven and three pence ; and
so on till it becomes a hundred pounds. The more
there is of it, the more it produces every turning, so
that the profits rise quicker and quicker. He that
kills a breeding sow, destroys all her offspring to the
thousandth generation. He that murders a dollar,
destroys all that it might have produced, even scores
of pounds.

Remember that six pounds a year, is but a groat a
day. For this little sum, which may be daily wasted
either in time or expense, unperceived, a man of cre-
dit may, on his own security, have the constant pos-
session and use of a hundred pounds. So much in
stock, briskly turned by an industrious man, produces
great advantages.

Remember this saying, " The good paymaster is lord
of another man's purse." He that is known to pay
punctually and exactly at the time he promises, may at
any time, and on any occasion, raise all the money his
friends can spare. This is sometimes of great use.
After industry and frugality, nothing contributes
more to the raising of a young man in the world, than
punctuality and justice in all his dealings ; therefore
never keep borrowed money an hour beyond the time
you promised, lest a disappointment shut up a friend's
purse for ever.

The most trifling actions that affect a man's credit
are to be regarded. The sound of a hammer at five
in the morning, or nine at night, heard by a creditor,
makes him easy six months longer ; but if he see you
at the billiard table, or hear your voice at a tavern
when you should be at work, he sends for his money
the next day, demands it before he can receive it in
a lump.

It shows, besides, that you are mindful of what
you owe ; and it makes you appear a careful as
well as an honest man, and that still increases your
credit.

Beware of thinking all your own that you possess,
and of living accordingly. It is a mistake that many
people who have credit fall into. To prevent this,
keep an exact account for some time, both of your
expenses and your income. If you take the pains at
first to mention particulars, it will have this good
effect ; you will discover how wonderfully small tri-

fling expenses amount up to large sums, and will
discern, what might have been, and may for the
future be saved, without occasioning any great in-
convenience.

In short, the way to wealth, if you desire it, is as
plain as the way to market. It depends chiefly on
these two words, industry, and frugality ; that is,
neither waste time nor money, but make the best use
of both. Without industry and frugality nothing
will do, and with them every thing. He that gets
all he can honestly, and saves all he gets (neces-
sary expenses excepted) will certainly become rich
— if that Being who governs the world, to whom
all should look for a blessing on their honest en-
deavors, doth not in his wise providence otherwise
determine.

ANDREW JOHNSON TO GOV. BUCKINGHAM.

Washington, June 19, 1868.

I received with profound thanks the dispatch of
your council. In the arduous and embarrassing
duties devolving upon me I feel the need of the co-
operation and sympathy of the people, and of the
assistance of the Great Ruler of the Universe. These
duties I shall endeavor to discharge honestly and to
the best of my judgment, with the conviction that
the best interests of civil and religious liberty through-
out the world will be preserved and promoted by
the success and permanency of our country. Let us
all labor to that end, and the mission upon which
this people have been sent among the nations of the
world will be accomplished.

Andrew Johnson.

To Gov. Wm. A. Buckingham, Council of Congre-
gational Churches, Boston.

WM. SHAKESPERE TO HON. HENRY WRIOTHESLEY.
[A modest letter from the world's greatest poet.]

Right Honourable : I know not how I shall
offend in dedicating my unpolished lines to your
Lordship, nor how the world will censure me for
choosing so strong a prop to support so weak a
burden.

******

Your Honours in all duty,

Wm. Shakespere.

~o V

BUSINESS LETTER WRITING.

16]

WM. C. BRYANT TO WASHINGTON IRVING.
[From Dempsey & Carroll's "Usages of Polite Society."]

New York, April 24, 1832.

My Dear Sir : I have received a copy of the Lon-
don edition of my poems forwarded by you. I find it
difficult to express the sense I entertain of the obliga-
tion you have laid me under by doing so much more
for me in this matter than I could have ventured, under
any circumstances, to expect. Had your kindness
been limited to procuring the publication of the work
I should still have esteemed the favor worthy of my
particular acknowledgment ; but by giving it the
sanction of your name and presenting it to the British
public with a recommendation so powerful as yours
on both sides of the Atlantic I feel that you have
done me an honor in the eyes of my countrymen and
of the world.

It is said that you intend shortly to visit this coun-
try. Your return to your native land will be wel-
comed with enthusiasm, and I shall be most happy
to make my acknowledgments in person.
I am, Sir, very sincerely yours,

Wm. C. Bryant.

A FRIENDLY LETTER FROM GENERAL GRANT.

London, June 19, 1877.

My Dear Mr. Childs : After an unusually stormy
passage for any season of the year, and continuous
sea-sickness generally among the passengers after the
second day out, we reached Liverpool Monday after-
noon, the 28th of May. Jesse and I proved to be
among the few good sailors. Neither of us felt a mo-
ment's uneasiness during the voyage. I had proposed
to leave Liverpool immediately on arrival and pro-
ceed to London, where I knew our minister had made
arrangements for the formal reception, and had ac-
cepted for me a few invitations of courtesy. But
what was my surprise to find nearly all the shipping
in port at Liverpool decorated with flags of all
nations, and from the mainmast of each the flag of
the Union most conspicuous.

******

Pressing invitations were sent from most of the
cities in the kingdom to have me visit them. I ac-
cepted for a day at Manchester, and stopped a few
moments at Leicester and at one other place. The
same hearty welcome was shown at each place, as you

have no doubt seen. ... I appreciate the fact,
and am proud of it, that the attentions I am receiving
are intended more for our country than for me per-
sonally. I love to see our country honored and re-
spected abroad, and I am proud that it is respected
by most all nations, and by some even loved. It has
always been my desire to see all jealousies between
England and the United States abated, and every
sore healed. Together, they are more powerful for
the spread of commerce and civilization than all
others combined, and can do more to remove causes
of war by creating mutual interests that would be so
much endangered by war. . . .

I am, dear Sir,

U. S. Grant.

A SCHOOLMASTER TO A PUPIL WHO ASKS FOR
ADVICE.

New York, Nov. 20, 1882.
My Dear James :

I could say more than you would want to read,
and more than you would be likely to read " with
the spirit and the understanding " touching the rules
that should govern you in your business life. It is,
in fact, a very easy thing to tell a young man, in gen-
eral terms, what to do ; so easy that almost every-
body is able (and willing) to do it. It is easy, as
well as safe, to say, " be honest ; be truthful ; be in-
dustrious ; be intelligent ; be respectful ; be econom-
ical ; get rich and make good use of your money ;"
and these things are being said, over and over again,
by parents and teachers and ministers, and through
the lessons which one draws from the lives and
words of others. Trite as these sayings are, how-
ever, they express truths that cannot be set aside or
ignored ; truths which, if you hope to succeed in any
full way, you must enforce in your own life.

You tell me that you have got a place, and are
about to enter upon your duties — that your salary is
small and your work exacting, but that you are to
get your own price and engage in a business of your
own choice. I take it for granted that you are with
good and appreciative men, but whether you are or
not, there is just one thing for you to do, and that is,
do your best. Although your salary is small, you will
not be likely to more than earn it ; but try to earn it
a dozen times over. Work just as faithfully, just as
earnestly as you would if you were to receive double

.1.

-9|^

162

BUSINESS LETTER WRITINi-.

the pay. You have a twofold duty to perform, first
to your employers, and next to yourself ; I might
almost better say, first to yourself and next to your
employers, for I am quite sure that if you discharge
the duty you owe to yourself, you cannot fail to do
justice to your employers. And then think of the
investment you will be making for all the long future
that is before you, in establishing habits of right
doing !

Never catch yourself saying or thinking in refer-
ence t j any duty placed upon you, " I did not engage
to do this." All the better if you did not. You are
so very sure to fall short in some directions, that it

should afford you great comfort to make up for it in
others. One thing you cannot afford, and that is to
get more than you earn. There are other things that
I might say to you, but nothing that would be better
worth your heeding. And even this has been better
said by old Polonius in his immortal advice to his
son :

" To thine own self be true,
And it shall follow as the night the day,
Thou canst not then be false to any man."

Very sincerely yours,

S. S. Packard.

&.rr\ in •

s
V

•V

VERY fine penman is called upon to indite, as well as to write, various sorts of

cards, invitations, resolutions, and so forth ; and he ought to be good authority on

these. At any leading stationer's in every large city, the latest styles of stationery

for cards and invitations may always be found ; and as these are constantly

changing, we give only such directions relating to them as are unchangeable, and

which may be followed at any time. So far, then, as respects the kind, shade and

style of paper or cards, and other things of that nature, these may be determined

by consultation with the dealer.

Written cards and written invitations are much finer than any engraved ones can possibly

be, unless the penman's copy be followed by the engraver. In every city where there are

people of fashion, there is a constant demand for them at a good price ; and the penman who

supplies these in a highly creditable manner adds hundreds — and, in some cases, even thousands

— to h;s annual income. But he must do his work superbly, and secure the patronage of the

best class.

The style of penmanship should be plain, free from flourishes and elegant.
The penman supplies the card or invitation, properly gotten up, either written or an
engraved fac simile of the writing, and ready for use by his fashionable patron, and cares nothing for the
custom that makes such things necessary. It may be well in this connection to refer to some of the usages
of society which properly belong to this subject. Among these we give the forms to be followed, unless
something different is suggested by the customer. The fashionable New York house for furnishing cards
and invitations — Dempsey & Carroll's, East 14th Street — has issued a little book, from which we make
numerous extracts, with their kind permission.

LADIES' VISITING CARDS.

To the uncultured, the visiting card has no special significance ; it bears the name 01 somebody, and
could as well be printed or written on coarse textured paper as upon ivory cardboard ; but the visiting card
indicates a great deal as to the personal characteristics of the party whose name it bears. It should be of
the finest texture ; its color, white or rose-white, of appropriate size and shape, all of which Fashion
describes with the greatest nicety ; and the writing, or engraving from the writing, neat, plain and elegant.
Penmen should have nothing to do with bevelled-edged, fancy designs, or gilt edged, unless for country
trade.

The quality of the cards and style of the work exhibits, like the dress of the wearer, the taste and
propriety or carelessness of the sender.

Ladies' visiting cards should always be of the best quality — the writing or engraving pure and rich.

T «r

*h-

164

CARD WRITING AND INVITATIONS.

card

Here, as in England, the elder branch of wealthy families have their cards engraved, with family name
only, as

Their position in society grants individualism to their cards.

The correct visiting card for married ladies is a size larger, -between that of a Miss and Mr. and Mrs.

If with reception days, the card would read :

C^44o ^fiimJ/a Q/andeidw,

Mother and daughters visiting together, have their cards written or engraved :

(Z/fpteo <~&0twm'ttf Q/tmdfo&if,
C?fft -'iiJ c mm a t-wtt/t }/•///,

4$y &//bt Csfi+maeo

Or, in this form :

46 7 C^f/fif C&WWD

The card, Mr. and Mrs., is only used just at and a short time after marriage. On all formal occasions,
married ladies have their husbands' cards with their own.

Young ladies' cards are written or engraved lighter than those of married ladies, and on smaller cards.
The common form for eldest daughter is :

<U/ \t'aMacir/.

4<r?

>ff(/l

CARD WRITING AND INVITATIONS.

165

The other daughters use full name, as :

LADIES' NEW YEAR'S RECEPTIONS.

The era of forced receptions, of all parties who choose to inflict themselves upon the ladies on New
Year's Day, has passed ; the custom being established, that ladies must invite gentlemen whom they wish to
welcome, either personally or by card, announcing that they receive on that day. We give the forms which
designate the character of the reception, full dress or informal. If the reception is to be in full dress, the
form is :

If Mrs. Heatherstone receives with her daughters, the form is :

wim/

v-tam-eta/me.

.Amm €jm& un/t'/t

Jo 3 <S^^f

wmtw.

If a lady friend receives with Mrs. Heatherstone, the form is :

Met,

JxtmuatM C^'Hdf, /tem (yne t0tm <&m
J S3 &dffl Ctftwnaeo

The invitations are from an engraved plate on square cards, and sent by mail in two envelopes.

"S *r '

i6o

CARD WRITING AND INVITATIONS.

The ladies receive in full toilets, gas lighted, and a sumptuous table is provided ; they rise to receive
their visitors and the congratulations of the Happy New Year.

If a less formal reception is given, the proper form of invitation is :

Jr///f/r//// J'//.i/. JJ) J///// Ofvmaeo

The invitation is from an engraved plate on a large size Visiting Card, sent in a correct size card
envelope by mail. The ladies wear visiting costumes, with light gloves, the gas not being lighted until
evening. The conventional hours of informal New Year's Receptions are from twelve m. to ten p. m.

CORNERS OF CARDS TURNED DOWN.

The signification of turning down the corners of cards is :

Visite — The right hand upper corner.

Felicitation — The left hand upper corner.

Condolence — The left hand lower corner.

Adieu — The right hand lower corner.

P. P. C. (To Take Leave) — The right hand lower corner.

Card, right hand end turned down — Delivered in Person.

INTTIALS AND FRENCH PHRASES.

Bal Masqu£ — Masquerade Ball.

Le Cotillon — The "German."

Costume de Rigueur — Full dress in character.

Fete Champ£tre — A Garden Party.

P. P. C. — Pour Prendre Conge — To take leave.

R. S. V. P. — Repondez s'il vous Plait — The favor of an answer is expected.

Soiree Dansante — Dancing Party.

R. S. V. P. — It is understood, by those in full accord with society rules, that all invitations should
receive an immediate reply, acceptance or declination, which neglect is often the source of great annoyance
to host and hostess, as in dinner giving, where a certain number are wished. R. S. V. P. is engraved on the
invitations when positive information as regards the acceptance is desired, and a doubt exists as to the
invited parties' knowledge of society etiquette.

GENTLEMEN'S CARDS AND THEIR USAGE.

Gentlemen's Visiting Cards are small, artistically engraved in script, with " Mr." prefixed to their
names ; the correct form is :

CARD WRITING AND INVITATIONS.

167

or,

df 2S. ^fmmkd/me,

or,

veidtvm,

Gentlemen's cards should be engraved with their street or club address, which is of great assistance to
ladies in their correspondence, etc. They should be of Pirie & Sons' ivory ; medium in size, between
extremes.

Calling hours for gentlemen are from two until five and eight until nine o'clock p. m. Visiting cards
are left with the serving man in the hall — the over-clothing also when worn. Making a formal call, the
gentleman enters the parlor, hat in hand ; if the ladies offer their hands, they are received without ungloving.
Custom permits conversation with other guests without introduction, the recognition, however, ceasing with
the call, which, if formal, is brief, gentlemen bowing their adieux soon after another visitor enters. Custom
demands that separate cards should be left for each lady member of the family.

Ladies' permission must be secured before introductions are made. " Gentlemen are presented to the
ladies." Hand shaking at introductions is obsolete. Gentlemen should wait recognition by their lady
acquaintances, it being accorded to them to offer the same by bowing first ; if greeted, the hat is raised and
a formal bow is made. Gentlemen remove their hats and remain uncovered in the presence of and when
conversing with ladies. If accompanying a lady on a promenade, the gentleman raises his hat to those she
recognizes, as an act of courtesy to her.

Gentlemen, riding or walking together, raise their hats to the recognized friends of each other. No
true gentlemen is over sensitive at an apparent non recognition, which in many cases is unintentional.

A gentleman desirous of continuing the acquaintance of a lady to whom he has been introduced, and in
doubt if the wish is mutual, leaves his card at her residence ; if his acquaintance as a visitor is desired, he
will receive an invitation to visit the family or an entertainment. If introduced by card, he calls, sending in
his own with that of the introducer.

The mother, when a young gentleman is to enter society, " leaves his card " with those of her husband
and her own, which indicates that the son is to be included in the family invitations.

Gentlemen making informal calls do so in walking costumes. Evening gatherings demand full dress.
When gloves are worn, they should be of light color ; the wearing of gloves is not requisite, except at
dancing parties.

Every invitation must be answered at once, accepting or declining ; it is an interchange of civilities and
is imperative — forms for which will be found under the head of Receptions. R. S. V. P. is seldom engraved
or written on invitations, the code of politeness demanding a reply.

A gentleman having escorted a lady to an entertainment, on her invitation, must make a formal call the
following evening ; he will not forget the compliment paid him, and courtesy demands that he should
reciprocate.

Cards must be left for host and hostess within a week after an entertainment, whether attended or not.

"^jp

Q ^

168

CARD WRITING AM) INVITATIONS.

NEW YEAR'S CALLING.

The open-house to all callers on a New Year's Day is of the past. No gentleman will present himself
unless invited, either by card or other intimation. The custom is fully established, that ladies who receive
on New Year's send their cards to those gentlemen whose congratulations will be pleasing. An invitation
requires recognition by calling in person, leaving of cards, or sending cards by mail. Gentlemen call in
their morning costume, wearing light gloves. The conventional hours are from 12 m. until 10 o'clock p. m.
As at formal calls, he leaves his card with the servant in the hall, also his over-clothing ; with hat in hand,
he presents himself and congratulations to the ladies ; he accepts or declines refreshments as pleases him ;
his visits are not prolonged over ten minutes. New Year's calling by carriage — being driven from house to
house, sending in your card by footman — is little done. If gentlemen do not call, they should send by mail
their cards in return for invitations received, which should be from an engraved plate, in form,

%/'. ^Jm/j J. J/;«/AsJj/*m,

Jr////n//// J /'/.>/. AJV) ;.

enclosed in a card envelope of appropriate size. The card, envelope and chirography are indicative of the
sender. (See Ladies' New Year Receptions.)

The neglect of the customs connected with invitations and visiting cards loses many friends, and
indicates an absence of polite education.

THE ENGAGEMENT.

The Engagement and its announcement, which is the first positive step toward marriage, is generally
made known by the parties interested, each making the Engagement known to their special friends. It is
the German custom to publish in the newspapers an engagement, the same as we do marriages. When the
engagement is made public, the lady does not pay visits, except to her intimate friends ; she leaves her
visiting cards at her friends' residences just previous to the sending of her wedding invitations, which are
sent at least two weeks previous to the occasion. The invitations are issued in the name of the bride's
parents, parent or nearest relative ; they are handsomely engraved in script, with coats of arms, crest or
monogram, or without, as pleases the parties in interest ; the envelope should be a distinctive wedding
envelope, not a wedding invitation sent in a reception style of envelope. If crests, coats of arms or mono-
grams are used on the invitations, they should be used also on the envelopes. The quality and tint of the
invitations, At Home, Church Cards and inside envelopes, should be the same, not, as often seen, each a
color of its own, which spoils their entirety and beauty. The invitations, At Home and Church Cards, are
enclosed in the same wedding envelope, on which are written names only of the parties to whom you are
sending them, then enclosed in an outside envelope, on which is written full name and address, which is
sealed and sent by mail to ensure positive delivery.

It is often debated as to which is correct in the wording of invitations —

Request your presence —

Request your company — or,

Request the honor of your company —

Request your presence is correct.

Webster defines Presence, " the existence of a person in a certain place ;" Company, " to accompany,
to be companion to;" Honor, "to reverence, exalt, dignify, glorify, etc." We wish to imply, that we
should be pleased to have them present to witness the marriage, not to accompany us, or to be our compan-

l£_

CARD WRITING AND INVITATIONS.

169

ions on that occasion. We do not expect them to reverence us, neither do we mean to imply that their
presence will be necessary to make the occasion illustrious.

It is often questioned which is correct — " to " or "and" — as in forms :

. Cstf//mdfe (^mimc/<Mzo

or,

C^i

eeia&a'

(7.

■m/

\/7p). C^&mdfe ^/aiemdfiwo

To is accepted as the proper word. The lady is married to the gentleman, receiving his name and
becoming his consort.

The correct form for invitations is :

(Pgf> i^f=> <$£*& S7 &fr«rf&t*6n*

a/ me maMt'tme 0/ Met4 t/czt/adfei,

■a,

ttedc/a// ^stfY/einet//, 'Ce/0/ei C taa/,

a/jwtt 0 'ewm,

omad

*79>

(^j/m/ C^W. cmc/ ^tj$M=mti</ <&/.,

C^kew U

-*-

T7°

CARD WRITING AND INVITATIONS.

If a Reception is to be given at the residence of the bride's parents, enclosed with invitation, a card
should be sent to those whose presence is desired, in form :

Another style is less elaborate

'JfcyUk

'////.

vm /ia^=/i<zj/ ' /eat tm/tf 6m,

z/t/ /a>

ys3

IVJWf. "

At all Weddings of any pretensions, Ushers' or Church Cards are used, to avoid the churches being
filled with sight-seeing strangers ; the card is small, neatly engraved, with crest or monogram :

iwnaa

':-0Hewuw// at /mt & ' ewmh

If a Reception is to be given on the return of the bridal party, the cards, enclosed with invitations, are
in form :

"4. fr Wtd. Gtfamd£ Yo/aunt/tw,

CARD WRITING AND INVITATIONS.

171

It is the custom for the bride's parents to give the bride a Reception on her return to the city. The
form is :

If an Evening Reception, the form of invitation is :

(%*> (%^ <&*ti a? A4^

tern,

wm nme anm eteven 0 cm

Enclosing also a card of

Vg*

The form for Weddings at the residence is

y^ n. 0hn/£d~,

fd>3 S&jit C&4WHUO

yrmed/ ?/cM 44&fmce

a/ /Ac maiUaac <y mc/i {Ao-moA/cI,

'i.

affM/e

of A?M c 'cmc/£,
y&8 <^jffl (^fvmwc

sfcr

_^ s>

172

CARD WRITING AND INVITATIONS.

Invitations for House Weddings, combining Ceremony and Reception, are in form :

G$>i. & C^id. f /at/of S£. syc«///'/j/<?m

m S^uede/uu G^/lkmM, (@ip&/vi ? w/f/, Stiff,

a/ da$=/iadt /put e ' cwefi,

f<58 &tM ' Crfl^O

Enclosing a card with the bride's maiden name, in form :

<Z>f<$m J&tMaid 42JfreaMetd/i>m.

If the Wedding is to take place at four o'clock, for those friends whose presence is desired to witness
the marriage ceremony, a Card as follows is enclosed, with the Reception Invitation. Form :

fftfjtfftf/f a/ /ui r r/rfA

Under a variety of circumstances, different forms of invitations are necessitated. A young lady having
no one to give her away, the form would be :

'mt diedmee sd imued/et/
• / , mtf/iedd' Ms' ^matt/up' <?/

#n (/w/nak/av ^?//' ///" //, /Uitem/tl (Dt^af, *&/?'

/// /put 0 ' C/PC/f,
&/. %iM/&dmw'4 Wuu/f,

///r{(//.ir// ^///y//ur r/J/r/ Jtr-////-Mitim -€rM6d/,

<5~

CARD WRITING AND INVITATIONS. 1 73

The announcements of private or informal weddings are, if made by bride's parents, in form :

amwtmce me maifoaae #/ me/A t/ima/i/ei,

J S3 &i/m Cf

These announcements, from engraved plates, on either note sheets or square cards, are mailed imme-
diately after the marriage.

The prevailing custom, if a private wedding, is, that the bridegroom makes the announcement of the
marriage, which is from engraved plates on square cards, in form :

(^. # (^U. Crf<y«(& ^^iem/mo

Engraved on a smaller card :

(/ftifo JSeeviffta ^ffieameufmeo

Both cards are enclosed together in double envelopes and mailed to friends. If they are to receive on
their return, the form of card is :

(fflet/nedt/tw vtwuwas

Another form is :

CTfftJJ XMe#/a/a S2Jreameutiwe,

CAifp&Utec/
G^aeJf/a//, (^h^i <D/f//, /#Jf.

from engraved plates, on note sheets, and mailed in double envelopes.

J <3

5 £_

174

CARD WRITING AND INVITATIONS.

House weddings are of a very elaborate nature ; flowers in profusion ; the Marriage Bell or other
S) mbols made of flowers ; a sumptuous table ; awning and carpets to carriage way ; partaking of the full
dress reception, only more elegant, if possible.

ANNIVERSARY WEDDINGS.

Wooden,

Tin,

Crystal,

Silver,

Golden,

Diamond,

Five years married.
Ten years married.
Fifteen years married.
Twenty-five years married.
Fifty years married.
Seventy-five years married.

Anniversary Weddings, or, more appropriately, Anniversary Celebrations, are very pleasing to the
wedded pair in whose honor they are given. The invitations are issued at the five years' intervals, and
are appropriately engraved on materials characteristic of the occasion. No gifts received, is engraved on
the invitations.

WOODEN WEDDING.

The invitations are engraved on wood, or imitation, in form :

/#/5

f, (ty^L cfify ^ QfyJ£

TIN WEDDING.
Engraved on paper, in imitation of tin, in form :

'6 Tp&mmt -ef/toti.

C/M ay/j Ur/// /y/.

CARD WRITING AND INVITATIONS.

CRYSTAL WEDDING.
The invitations are engraved on crystallized cards, in form :

/$/0

/$M

m \(/tm | /'ftwme

r&6wk^Z'M C vmma, J4w -^hwmm, a/ (Stmt # 'a

'',

# at/zd iecet/A

J75

SILVER WEDDING.

The invitations are engraved on silver bordered cards, in form :

Stf/O

QftM <=&®

/J sasMJt/// jr//f/fcd A

/#8<r

"5>

176

CARD WRITING AND INVITATIONS.

GOLDEN WEDDING.
The invitations are engraved and printed on wedding note sheets in gold. Form

MONOGRAM.

. Qfr.Qr.

r //foa&etie 0/ wui MwAamt id ieaued/sr/.

'S/r'- >yy/) tw./> /#■</.

DIAMOND WEDDINGS.
Special forms demanded for the occasion.

"KETTLE DRUM" RECEPTIONS.

" Kettle Drum," an English name for an informal afternoon entertainment, " a tea party conversazione"
for discussing the fashionable topics of the day. Ladies attending in demi-toilets. The form of invitations,
from engraved plates on square cards, is :

J ///.; r/f///, J///

///// / Cffid

763 J///7/ C^V/';/f"

The cards are often embellished with a Kettle Drum, illuminated, in the left hand upper corner.

The guests are of your more intimate friends. The " Kettle Drum " has been very popular ; being a
day reception of informal character, it enables wives and daughters to meet their friends, without the neces-
sary male escorts which evening entertainments demand.

1' ___

. 0! -

CARD WRITING AND INVITATIONS. 177

The hostess presides at a table and dispenses tea, which, with refreshments, are passed to the guests
shortly after they have paid their respects. It being a species of afternoon matinee, the time for remaining
is governed by numbers present ; if a large attendance, it is deemed proper to forego the formalities of
leave taking.

"TEA" RECEPTIONS.

Tea, or afternoon receptions, have become very fashionable, and taken the place of the " Kettle Drum."
The hours of reception are from four to six p. m., and when extended beyond six o'clock become of the
nature of a reception. They are of an informal character, guests not expected in full dress, and are intended
as social meetings of ladies by daylight. The refreshments are of a light nature, and all display or ostenta-
tion is avoided. The form of invitations, which characterizes the entertainment as an informal reception,
is :

and should be from engraved plates, on correct size cards, enclosed in informal reception envelopes, sent
by mail or messenger, as best pleases the hostess.

The hostess receives her guests at the table, where she presides ; refreshments and tea are passed on a
tray by domestics to the guests. The formalities of bidding adieu to the hostess are dispensed with ; the
omission is considered with favor and in good taste.

Teas being little more than grand calling days, after calls are not expected.

FULL DRESS RECEPTIONS.

Full Dress Receptions are events of the social season, attended with more than ordinary solicitude and
expenditures.

Previous to the issuing of invitations, a call is made in person, or by card, on all acquaintances who are
to be honored.

The invitations should be sent two weeks previous to the reception day, to avoid engagements by your
friends ; the invitations should be on note sheets or cards, Pirie & Sons' tint, extra thick, from engraved
plates in pure script, avoiding the appearance of a set style and type printing. The following is the correct
form which indicates " Full Dress Receptions :"

tm c^uede/a-// (Bfim/Ma, /MmmJtei <&~mm,
A#m etmf tm&f mmvj?- 0 'turn!.

758 C^^/M (^Atewuvc

,-^s

•

178

CARD WRITING AND IWll'ATIONS.

Invitations, if delivered by special messengers, are sent in an unsealed envelope ; if sent by mail, two
envelopes are required, the outer sealed.

During the hours of reception, an awning and carpet to the carriage way are indispensable. A servant,
appropriately dressed, to open the doors of carriages on arrival and departure of guests ; a servant at the
door, to receive the guests' cards and direct them to the dressing rooms, etc.

The gentlemen escort the ladies to the host and hostess, who retain their post of reception during the
entire evening. Music and a sumptuous table form an inviting portion of the entertainment.

If there is to be dancing, the form of invitations is :

'4. IS {Yftid. ^///^ J . J/'sr,//?,,,/,

y //'

f //

W. tmcen*

A#m et'aa/ /m/// ?/'/<// t /■/>/*/;

Full Dress Receptions are given afternoon and evening, the afternoon more particularly designed for
elder acquaintances, and the evening for younger ladies and gentlemen. The invitations should be from
engraved plates, on square cards, denoting full dress. Form :

J' <","', a ' / ////// t r/#c&.

At the reception, the young ladies arc, by usage, permitted to dance, the mother retaining her place of
receiving, to which the young ladies return after a dance. It is not etiquette for young ladies to dance
more than once, at their own receptions, with the same gentleman.

£.

CARD WRITING AND INVITATIONS. 179

FORMS OF ACCEPTANCE AND DECLINATIONS.

All invitations should be answered. Informal receptions only demand the leaving of cards, while full
dress receptions or dinner invitations demand a written note, which should be on appropriate cards, as they
are retained among the valued correspondence.

Form of acceptance :

W74. & iwPu. 'SCjJj 3?. j^^^^W

accmf i/mM /tfai<uti#

The form generally used is the following, when declining an invitation. Affliction or other causes may
be the true reasons, but sensitive persons are not fond of parading their troubles to the world. The con-
ventional form used is :

f„. U

ieau/ ma/ a Meowtrt enaapemm/

n/>

J ©

\l<2-

180

CARD WRITING AND INVITATIONS.

.£+

RECEPTIONS.

Receptions given to meet important and distinguished persons are in form as follows. The following
invitation was engraved for Mr. Wm. E. Dodge, Jr., and a similar one for Mr. Preston, of Brooklyn, in
honor of Mr. Charles Fermaud :

C/$pt. (Jm&m o. Qjetrfpe, ^t0Mi,

*e /Mead (tie

w &

<-i

tw Q^itdaM (Diwnma, <C?vvay learnt/, a/ eta// # ' cdctf,

/# mee/

uaueJ

J&mev-a, -&wt'ffMmna//
cta//m <?/ au mwdbo

\*f.QP.

2(2 C^nat/tJtn C^tw.

PARTY INVITATIONS, ETC.

Entertainments are given under various names : " Kettle Drums," Teas, Informal and Full Dress Re-
ceptions, Balls, Cotillons, etc.

Parties often swell to a magnitude as grand as a ball, but the guests are of the more intimate acquaint-
ances and special friends. The hours before supper are occupied in conversation. The supper is given at an
earlier hour than at balls, and dancing follows, the guests taking their departure from twelve to one o'clock.

The same courtesy, by guests, host and hostess, are observed as at receptions.

-•■

CARD WRITING AND INVITATIONS. l8l

The form of engraved invitations, which should be on square, extra thick cards of fine quality, is

<S&mtkdm SW^w, \/?0P4m06i -^tam,

The formal call and card leaving precede the sending of invitations, and after, calls in person or by
card are imperative.

"LE COTILLON," "THE GERMAN."

For the "German," the now and increasing favorite dance at entertainments, we are indebted to the
Vaterland. The informalities at a " German " necessitate that great care must be taken in the inviting of
guests. It is considered that all taking part in the " German " are formally introduced, and no lady, so long
as she remains in the circle, can refuse to dance with any gentleman whom she may chance to receive as a
partner ; the assemblage should, therefore, be very select. The " German " is a dancing party, at which
each lady has a partner the entire evening, to whom she returns after every figure. The room should be
free of all tables or articles of furniture which would circumscribe the dancers ; the carpet should be
covered with crash ; chairs should be arranged around the sides of the room, the centre clear. The couples
are seated around the room, each lady being at the right of her partner. The entire control of the
" German " is in charge of a chosen gentleman, who is the " Leader ;" the selection of figures are entirely at
his discrimination. All being seated, the leader gives a signal to the musicians, who play a waltz or galop ;
he designates couples, who rise as called upon and dance ; after an interval, the leader gives a signal, and
the dancing couples choose others, each lady a gentleman and each gentleman a lady ; the leader directs
those dancing through some figure ; at another signal the figure breaks up, and a general waltz follows with
the partners last chosen ; at another signal, the gentlemen conduct their partners to their seats and then
resume their own. It is repeated, new couples being called up, until all have gone through the same figure.
In many figures favors are given, which are often very elaborate and costly ; but they are generally of an
inexpensive nature, consisting of small articles which can be attached to the ladies' dresses and gentlemen's
coats. They should be selected with taste and presented with care and judgment, being careful not to
bestow them unequally, making a favored lady or gentleman a marked preference, which causes ill feeling
and mars the pleasures of the evening. During a figure in which favors are used, at the indication of the
leader, the favoring is done by gentlemen handing favors to ladies or attaching them to their dresses, and
the ladies similarly decorating and complimenting gentlemen. When the leader hands the favors to those
dancers who are on the floor for distribution, their conferring them upon others who are not " up " is an
invitation to dance. The distribution of favors is at the pleasure of the leader, and altogether arbitrary.
At " Germans," the distributing of favors during every figure, or every other, is at the pleasure of the
hostess. A " German " should be composed of an equal number of ladies and gentlemen, who are acquaint-

! £_

182

CARD WRITING AND INVITATIONS.

ances and friends. Avoid crowding your rooms. Send out your invitations at least ten days in advance,
which are from engraved plates, on square cards, and in form :

i T/^ <=0/aJj 7. ^ad*t6m

r</////r/;/// m ^f^ f//r/r/// ( /'mix a.

«<

'////«//.

/ J' J

/r//f/f.

The fashion of forming sociables with suggestive names, and meeting at the houses of the members, is
a very pleasant social custom. The form for invitations, which are engraved, leaving blank lines which are
written on with name and address, is :

affc

C^WMtt/a// ( ////////,

at 4a&-/ka6/ ru//// t a

BALLS.

An invitation to a ball signifies that the entertainment is exclusively for dancing. Balls are usually
given in honor of distinguished guests or special occasions. The ladies' toilets are of the most elaborate
nature, the gentlemen in full evening dress.

The forms of invitations, which are from engraved plates, on note sheets, are sent out from ten days to
two weeks previous to the evening. The form being :

@ffi I dud* j. yr, «/%,,>/,„,

at //r///' //f/.)/ /////'• r r/rr/r.

r///r///

_ifc

CARD WRITING AND INVITATIONS.

I83

Round and square dances precede the supper, after which the German. The orders of dances being
kept as souvenirs, should be worthy of the occasion.

The supper hour is from twelve to one o'clock, the guests' hours for retiring being from two to three
o'clock a. m.

At public entertainments and balls, it is a lady's privilege to refuse an invitation to dance for which she
is not engaged ; she cannot with courtesy accept another invitation for that dance.

DINNER INVITATIONS.

Invitations to dinners are given in the name of the host and hostess, which should be accepted or
declined at once ; it is an evidence of ignorance of society's usage or unpardonable negligence to omit an
immediate reply.

The forms of invitations, which are from engraved plates, printed on square cards, with crest or mono-
gram stamped or illuminated in the centre of the top of the cards, are in form :

* {%?$=> c=^4^ 3fm ^e*//e44/me

teattat/ m# /umjtfle a

7p) & G^YT^ C^Wjsk/ -^yfffc/am V etw^emu

r//

/<?79,

(■// 6wen 0 mc.

p'3 &im CJfwn

?>&/(/(. .

The cards are engraved as follows, the blanks being filled in :

(fgft,^

a/ ^/jfmnet-, t//

./$

of...

y$8 &am or^

/;e/'tvr.

rr/////ff////

.# 'ewmh

=&PV

— -4*.

1 84

CARD WRITING AND INVITATIONS.

If the dinner is in honor of a distinguished guest, a special engraved invitation is issued, with coat of
arms, crest or monogram on the cards, in form as follows :

Z^fet. ?< ^fti. ^//r/^J 2£. &#'«///' htm
Jkw/f/rs}// J? /rv///// . r// /u//f # 'ewe/,

The form of acceptance of an invitation to dinner is :
The form of declination is :

A/r/rj/A /ft*- acc///r/;/rr //
mrf'/et/'f-j/ A (/'/j/j/f/.

0$Q€> //r/r/// ( /Y /////'/, Jr///Ur//// Jff-'/rfw.

The acceptance or declination should he written on fine note paper or correspondence cards, with
family crest or personal monogram.

"8 V

!2_

£_

CARD WRITING AND INVITATIONS.

From ten to fifteen minutes previous to the announced dinner hour is the time for arrival. The hostess
having selected the ladies whom the gentlemen are to escort to dinner, their names are written on the same
card and handed to the gentlemen on their arrival by the serving man.

Another and fashionable mode is to write the lady's name on a small square card, on which is stamped
the crest or initial ; the card is enclosed in a delicate envelope, superscribed with the gentleman's name who
is to escort the lady ; these are placed upon the dressing table in the gentlemen's dressing room.

Seats at the table are designated by dinner cards placed at each plate, with name of the guest. These
cards are works of art, and are kept as souvenirs of the occasion.

CHILDREN'S PARTIES.

Parties for the younger members of the family are very fashionable — the doll and birthday parties and
the special gatherings of the little ones fill an important place in the pleasures of life. The form of a
children's party invitation is :

&td

S04J//,

#a/fy/iajf/we. 3000 C7$$a<&k>-n O&v.

Another form

A#m jwti um/u nmeo

The invitations are from engraved plates, on cards or note sheets, with appropriate designs, stamped
illuminated : Punch and Judy, Good Luck, or special designs, making them very neat and attractive.

1 86

CARD WRITING AND INVITATIONS.

CHILDREN'S BIRTHDAY PARTIES.
The form of invitation to a Children's Birthday Party is :

//r/// .)/./• ffj//// /'// {■ r/rr//.

Acceptances or declinations should be sent by children as promptly as by their elders.

TWENTY-FIRST BIRTHDAY PARTIES.

Here, as in England, it is the custom to give a grand entertainment in celebration of a son's twenty
first birthday.

The correct form for invitations, which are from engraved plates on note sheets, is :

r// //// <v////r//u ,/ // ///fil <km J,

Jm///// /-.// /jt'////r/tfs/. /'.ff/j/'jr/'/y ( ////////,

_A<h

:£.

CARD WRITING AND INVITATIONS.

I87

CHRISTENING RECEPTIONS.

The English custom of giving christening receptions is increasing in favor among our aristocratic
families. The invitations are from engraved plates on cards, and in form :

tewed/ me d&m4 #/ y&M Medetice a/ me

/zMttd/eniMf e/ /deti dm.

a/ //r # c/ec/, /iec/wedc/a//,

i Cy-eriM,

^^eeed/ttm A#m /ml /mmdw # '' cmc#,

fd>3 c

HIGH TEA INVITATION.

An English usage. We give a form of the invitation, to meet Miss Ada Cavendish, the popular actress,
upon her first arrival in New York City :

tewed/ me /i/eadule c/t

c f ////'/ r///// /£ & s2//tM $Kea, a/ me cMteac/mzf d/Sfeade,

MZ &<z/t/4</ay <metnfie-/i, ^e/Zem/et &e-p-ef?ffl,
A#m u'tw & dewen, & mee/

7jj

'4 K^//i/a

a ^ic-anvfa

-J^em U/#t//

~Si\

1 88

CARD WRITING AND INVITATIONS.

CARD PARTY INVITATION.

fff3

Ctfi

//M L//////W.

c#m//r///// <?k c^uafda// toiwwn-a, c^feHetMy C^ uwnfy~/fm,

<%.^f.Q?.&

FORMS FOR INVITATIONS,
which should be on square cards, from engraved plates, in neat script :

SOCIABLE INVITATIONS.

Uaaafd mi dteatitie r/ y#ui cent/town
a/ f//e -w^ ^ _

a/ ' f/a/t ;/ 6 'r/rr//_

_ a/ ///e Mt(/en<v or

<%.^f.q?§>.

-€?ec '*

/' /;

OvtwMteo

CARD WRITING AND INVITATIONS. 1 89

BREAKFAST INVITATIONS
should be informal, written on correspondence cards, announcing, in form :

SUPPER INVITATIONS.
An informal invitation, written on correspondence cards :

3£. &&. ■ /tfS c^M CJfmmt*.

tt/t/m- a? /m # £/#&/>,

w ^t: S2Weame4<wneo

MASQUERADE. BALL INVITATIONS

are in form

Wrf.

"S>

190

t'ARl) WKITINd AN!) INVITATIONS.

SPECIAL INVITATIONS.
Reception to President and Mrs. Hayes, March 30, 1880. Form :

i. f///r/

/{%>,u. Q^i

r<'m //<///// sj? C?f{&lc/r/// (/'///;/(/, ///r//r/ 80m,

tak^im/ am/ ^mOJd.

€&Mt>ir.&

Reception to General Grant. . Form :

//fade* yr's/r, ^j//c/m//A// ^Jsj/,

-S,< retary.

/'resident.

&//' /r//s? 0/ an <///j//>/ & /"•////.)/<"/

^JVS

PEN DRAWII

A. CAULO, V, DHAUTEL, CLERGETY AND PAUL HUET.

PARIS.

<•*

3P7

193

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199

H
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13

<
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PL.

201

PEN DRAWINGS

OF THE

FOTJE SCHOOLS OF AET,

RIESTER, FEUCHERE, AND REGNIER.

PARIS.

< w

207

Pen Sketch. By Martin Riester, Paris.

.1 b

Q k_

liL

209

■3 \

£_

211

(2.e«ruflru\V6c(kbr ]§%

<2 «^

213

£.

215

»k

219

RlESTER.

> V

221

Regnier.

:£.

227

RlESTER.

J II

\\ a.

:<L

229

RlESTER.

I ®

— ^

>Xl

"Tp

RlESTER.

233

^2=

235

RlESTER.

-♦

-a V

237

239

L-

■«^Q — -

££.

241

243

RlESTER.

,-yg

245

Feuchere, Paris.

"7"

«ii

247

■fK

£LL

249

Feuchere, Paris.

251

Pi
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a

A-

253

These Pens, originally made expressly for our own use, and
still used by both teachers and students in our Business Col-
lege, have now become widely known and are extensively
used in Business Colleges, Academies, Normal Schools and
Counting-houses throughout the country.

They are the best Business Pens in the

Worlds being fine-pointed, elastic, and more durable than any
other similar pens ever manufactured.

Price per gross box, $1.25, postpaid, or 40 cents for a
quarter gross box.

Special low rates to all schools.

The following, from a gentleman of Georgia, expresses the opinion of all who have
tried these Pens:

Ordinary's Office,
Schley County, Georgia.

Ellaville, August 29, 1882.

Prof. G. A. Gaskell : Enclosed please find 40 cents in stamps, for which send me a quarter
box of your matchless steel pens, for I find that they not only outwrite, but outlast any pen that I
have ever used. I am an old book-keeper and a very old man, as I was born on the 5th of January,
1804, and have used a great many pens in my time. This is the second box I have ordered, and
regret that I had not seen them sooner. Respectfully,

W. C. P. CLEGHORN,

Ellaville P. O., Schley Co., Ga.

THE OBLIQUE PEN HOLDER.

Teachers and pupils supplied with the genuine Oblique Pen Holder at $1.00 a dozen, and even
less in larger quantities. One, as a sample, mailed for 20 cents ; 3 for 40 cents, postage stamps or
currency.

FLOURISHING PEN HOLDERS.

Just what we use ourselves. A splendid article. Fifty cents a dozen ; single one, 15 cents.
Postage stamps are good for all small sums.

Address,

O. A. GASKELL,

P. O. Box 1534, New York City.

«':\

3 1197 00191 2077

DATE DUE

...

MAY_2_L_200£L

JAN 0 3 2uni

JUL ?.i mn? ^PR 2 1 2009

JAN 0 9 20(6

MM 91

}Wh m

MAR 22 ;008

.SEP 2 2 20QI,

1C3L2J ?nnp

'JU! 7 0 wn

»^3

DEC 1 7 2010

MAR 9 6 7F1U

DEC 2 0 2005

SEP 2 7 201C

AN 0 4 7011

Brigham Young University

■^

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Full text of "The penman's hand-book : for penmen and students, embracing a history of writing ... many complete alphabets ... ; Also, Chapters on teaching penmanship, business letter writing, off-hand flourishing ... etc."

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